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AN  ANALYSIS  OF  THE  USE  IN  PHOTO- 
PLAYS OF  THE 

THIRTY-SIX    DRAMATIC 
SITUATIONS 

AND  THEIR  SUBDIVISIONS. 

CONTAINING  A  LIST  OF  ALL  THF, 
FUNDAMENTAL  DRAMATIC  MATt- 
RIAL  TO  BE  FOUND  IN  HUMA'J^  EX- 
PERIENCE, INCLUDING  THE  SYNQPSE.T 
OF  ONE  HUNDRED  PRODUCED  REP- 
RESENTATIVE PHOTOPLAYS,  WITH  A 
DETAILED  ANALYSIS  OF  THE  SITUA- 
TIONS USED  IN  EACH. 

PRACTICAL  SUGGESTIONS  FOR 
COMBINING  SITUATIONS,  FOR  TEST- 
ING THE  STRENGTH  AND  NOVELTY 
OF  PLOTS,  AND  FOR  BUILDING 
PLOTS;  AND  AN  INDEX  REFERRING 
TO  EACH  PRODUCER,  AUTHOR,  STAR, 
STORY  AND  SITUATION  MENTIONED 
IN  THE  TEXT. 


By  FREDERICK  PALMER  .\nd  ERIC  HOWARD 

Series  Y 


PUBLISHED  BY 

PALMER  PHOTOPLAY  CORPORATION 

Departmtnt  of  Education 
LOS  ANGELES,  CAL. 


Copyright,  1920 

Pajlmeu  Photoplay  CoaPoaAXioK 

Los  Angelks 

All  Rights   Reserved 


TABLE  OF  CONTENTS 

Page 
PREFACE   7 

The  law  of  the  thirty-six  dramatic  situations;  the  classification  of  situations; 
the  purpose  of  this  work ;  plan  of  study. 

Part  One. 

CHAPTER  ONE 13 

The  purpose  of  fiction  and  photoplays;  what  is  a  dramatic  situation;  what  is  a 
photoplay  situation ;  the  combination  of  situations ;  the  backbone  of  drama. 

CHAPTER  TWO 17 

The  relation  of  Theme  to  the  thirty-six  situations ;  examples  of  dramatic 
themes;  Characterization  and  its  relation  to  the  thirty-six  situations. 

CHAPTER  THREE 20 

Plot  interest  and  situations;  the  plot  outline  for  combining  situations;  outline 
of  "The  Golden  Chance" ;  plot  logic  and  a  way  to  test  it. 

CHAPTER   FOUR 25 

The  emotional  curve;  the  rule  of  three  and  situations;  visualization;  analysis, 
elimination  and  revision;  the  element  of  conflict  in  situations;  the  dramatic 
triad  in  situations;  how  situations  suggest  themes  and  characters;  how  to  use 
situations  in  plot  building. 

CHAPTER   FIVE 26 

Novelty;  what  it  is;  how  to  achieve  it;  how  to  test  it. 

CHAPTER  SIX 31 

A  word  of  warning;  dramatic  and  undramatic;  the  test  of  situations;  a  sum- 
mary of  the  law  of  the  thirty-six  situations. 

Part  Two. 

CHAPTER   SEVEN 37 

Situations  I  to  VI,  inclusive:  Supplication;  Deliverance;  Crime  Pur- 
sued BY  Vengeance;  Vengeance  Taken  for  Kindred  Upon  Kindred; 
Pursuit  ;  Disaster  ;  the  subdivisions  of  each  situation ;  explanatory  comment 
regarding  the  use  of  each  situation  in  the  photoplay. 

CHAPTER  EIGHT 42 

Situations  VII  to  XII,  inclusive:  Falling  Prey  to  Cruelty  or  Mis- 
fortune; Revolt;  Daring  Enterprise;  Abduction;  The  Enigma; 
Obtaining. 

CHAPTER  NINE 46 

Situations  XIII  to  XVIII,  inclusive:  Enmity  of  Kinsmen;  Rivalry  of 
Kinsmen;  Murderous  Adultery;  Madness;  Fatal  Imprudence;  In- 
voluntary Crimes  of  Love. 


SS'^iM 


Page 

CHAPTER  TEN +9 

Situations  XIX  to  XXIV,  inclusive:  Slaying  of  a  Kinsman  Unrecog- 
nized ;  Self-Sacrifice  for  an  Ideal  ;  Self-Sacrifice  for  Kindred  ;  All 
Sacrificed  for  a  Passion;  Necessity  of  Sacrificing  Loved  Ones; 
Rivalry  of  Superior  and  Inferior. 

CHAPTER  ELEVEN 53 

Situations  XXV  to  XXX,  inclusive:  Adultery;  Crimes  of  Love;  Dis- 
covery of  the  Dishonor  of  a  Loved  One;  Obstacles  to  Love;  An 
Enemy  Loved;  Ambition. 

CHAPTER  TWELVE 58 

Situations  XXXI  to  XXXVI,  inclusive:  Struggle  Against  a  God;  Mis- 
taken Jealousy  ;  Erroneous  Judgment  ;  Remorse  ;  Recovery  of  a  Lost 
One  ;  Loss  of  Loved  Ones  ;  Summary  of  situations. 

Part  Three. 

CHAPTER  THIRTEEN 65 

Examples  of  Situations  in  Photoplays;  The  synopses  of  one  hundred 
representative  produced  photoplays  with  constructive  comment  and  analysis 
of  the  use  of  the  thirty-six  dramatic  situations  in  each  of  them. 

Part  Four. 

CHAPTER  FOURTEEN 151 

The  Photoplay  of  the  Future;  Probable  development  of  theme  and  character- 
ization in  the  photoplay;  the  elimination  of  artificiality;  the  reflection  of  life. 

CHAPTER  FIFTEEN •••••. *^^ 

The  conclusion;  further  suggestions  for  the  combination  of  situations;  the 
selection  of  theme  and  the  creation  of  characters ;  the  development  of  strong, 
dramatic  and  novel  plots;  the  nature  of  novelty. 

INDEX 155 


PREFACE 

1.  If  one  were  to  ask  a  successful  photoplaywright  just  what  element  in  the 
finished  play  he  considered  of  most  importance,  just  what  element  formed  tlie  back- 
bone of  the  action  and  provided  a  basis  on  which  to  build,  the  answer  would  be,  "Sit- 
uations." The  stage  dramatist  would  probably  make  the  same  reply,  and  the  author 
of  the  kind  of  fiction  in  which  the  plot  is  the  point  of  interest  would  concur.  In  any 
discussion  of  the  dramatic  or  narrative  forms  in  which  Plot  is  the  important  considera- 
tion, we  must  start  with  the  factor  of  Situation.  It  is  true  that  all  plots  are  combina- 
tions of  situations,  and  that  without  situations  stories  or  plays  will  be  quite  devoid 
of  plot. 

2.  In  order  to  hold  the  interest  of  an  audience  it  is  necessary  to  present  dramatic 
plots — records  of  sustained  and  suspensive  conflicts.  In  the  Palmer  Plan  Handbook, 
the  three  fundamentals  of  a  photoplay  have  been  called  Conflict,  Suspense  and  Punch. 
None  of  these  qualities  can  be  present  in  any  degree  without  a  strong  basic  situation 
or  situations.  In  the  Handbook  a  situation  has  been  described  as  a  Predicament,  and 
has  been  indicated  as  the  starting  point  of  the  play.  It  has  been  suggested  that  the 
author  find  a  strong  situation  and  then  work  forward  and  backward  in  the  develop- 
ment of  a  well-rounded  and  dramatic  plot.  Often,  however,  despite  the  excellent 
examples  of  situations  that  have  been  suggested,  the  beginning  author  has  found  it 
difficult  to  discover  a  strong,  or  novel,  or  genuinely  dramatic  situation,  and  has  failed 
to  develop  effective  plays  because  of  this  basic  weakness. 

3.  In  reading  and  criticising  hundreds  of  photoplays  during  the  past  year, 
ranging  in  merit  from  the  ridiculous  to  the  sublime,  dealing  with  a  multitude  of 
themes,  it  has  been  forcibly  made  clear  to  us  that  the  average  beginning  writer  is  often 
hampered  by  an  excess  of  untrained  and  misdirected  imagination.  In  too  many  of 
the  stories  we  have  read  there  has  been  a  tendency  towards  imitative  writing.  Too 
often  the  student  has  dug  deep  into  his  memories  and  has  fovmd  a  plot  lurking  there. 
With  no  standard  of  critical  judgment,  with  no  means  of  comparing  his  ideas  with 
those  that  have  been  conceived  and  developed  in  the  past,  the  student  has  written  a 
story  that  was  technically  well  constructed  but  lacked  the  fire  of  originality.  This 
has  been  due  to  an  excess,  rather  than  dearth,  of  imagination.  But,  unfortunately,  the 
imagination  has  been  misdirected  and  has  been  allowed  to  wander. 

4.  It  is  the  purpose  of  this  work  to  supply  the  author,  especially  the  photo- 
playwright,  with  a  handbook  of  reference,  which  will  be  stimulating  in  its  suggestive- 
ness  and  at  the  same  time  a  means  whereby  the  novelty  and  the  strength  of  a  plot 
idea  may  be  judged.  By  using  the  classification  of  fundamental  dramatic  situations 
formulated  by  Gozzi,  Schiller,  Goethe,  De  Nerval,  and  best  of  all  by  Georges  Polti, 
to  whom  the  present  writers  acknowledge  their  indebtedness,  we  are  at  once  simplify- 
ing and  widening  the  possible  flights  of  imagination.  And  in  going  further,  and  into 
a  virgin  field,  with  the  data  accumulated  by  Polti,  we  hope  to  make  more  specific 
and  useful  the  law  he  formulated. 

5.  Let  us  state  the  law  in  question  here  at  the  outset,  that  we  may  progress 
to  its  application  and  interpretation  more  readily.  There  are  only  thirty-six  funda- 
mental dramatic  situations,  various  facets  of  which  form  the  basis  of  all  human  drama. 

6.  Lest  this  seem  dogmatic,  it  must  be  remembered  that  there  is  nothing  arbi- 
trary or  cabalistic  in   the  number  thirn^-six.     As   Polti  says,  the   number  might  be 

7 


smaller  or  greater,  but  thirty-six  seems  to  be  the  most  nearly  accurate.  Various  writ- 
ers on  the  subject  have  endeavored  to  discover  a  new  situation  to  add  to  Polti's  list, 
but  all  of  their  efforts  have  been  feeble  and  ill-considered  in  comparison  with  his 
scholarly  work.  It  is  not  the  purpose  of  the  present  volume  to  add  anything  to  the 
data  rediscovered  and  formulated  by  M.  Polti,  but  rather  to  carry  that  knowledge  into 
a  new  field — that  of  the  Photoplay — and  to  give  the  photoplaywright  a  comprehensive 
and  accurate  knowledge  of  the  nature  of  each  situation  that  has  been  used  in  photo- 
plays, how  it  was  used,  whether  it  has  been  used  to  exhaustion  in  certain  forms, 
whether  it  opens  a  new  and  interesting  line  of  thought  to  the  writer,  etc.  In  this 
way  the  work  will  lead  you  into  wide  vistas  of  the  imagination,  many  of  them  un- 
traveled  by  the  writers  of  today,  and  will  indicate  the  pitfalls  that  are  everywhere 
awaiting  the  unwary  author. 

7.  This  work  must  be  regarded  as  a  work  of  reference.  It  is  a  stimulus  rather 
than  a  formula,  and  at  all  times  the  writer  must  avoid  seeking  plot  material  ready- 
made  for  his  use.  Properly  assimilated  and  understood,  the  work  will  help  you  to 
judge  the  worth  of  your  own  ideas,  will  suggest  ways  and  methods  of  development, 
and  will  guard  you  against  the  danger  of  imitation  and  repetition.  It  can  not,  nor 
any  other  book,  think  for  you. 

8.  It  is  true  that  all  plots  are  combinations  of  situations,  and  that  this  work 
will  deal  with  the  fundamental  situations  in  a  comprehensive  way  and  will  indicate 
possible  and  worth-while  combinations.  But  the  student  must  not  come  to  it  hoping 
to  find  plots  ready  to  use,  like  a  prepared  breakfast  food.  The  real  work  is  left  to 
the  creative  author,  and  only  in  the  degree  that  you  possess  creative  ability  and  dra- 
matic imagination — the  imagination,  that  is,  that  leads  you  to  create  dramatic  char- 
acters and  to  place  them  in  interesting  conflicts  with  one  another — can  this  work 
serve  you. 

9.  Not  long  ago  a  young  writer  who  has  succeeded  in  certain  kinds  of  writing, 
chiefly  poetry  and  essays,  gravely  said  that  he  was  through  with  fiction  and  photo- 
plays, that  he  had  no  imagination.  We  were  eq\ially  certain,  however,  that  what  he 
really  lacked  was  sufficient  knowledge  of  literature  and  the  screen  to  know  when  he 
had  found  a  really  good  idea.  From  his  work  we  knew  that  he  was  imaginative  and 
really  creative.  He  was  unfortunate  enough,  however,  to  write  several  stories  dealing 
with  themes  and  plots  that  were  either  taboo  or  hopelessly  hackneyed.  Even  the  most 
experienced  writers  make  such  errors,  occasionally,  and  it  is  not  a  sign  of  weak  imag- 
mation  that  one  has  imitated  the  masters  of  the  past  without  recognizing  the  process 
as  imitative.  Some  years  ago,  a  writer  suddenly  awakened  in  the  dead  of  night  and 
feverishly  sought  a  pencil  to  write  down  a  title  that  had  come  to  him  in  a  dream. 
The  title  was,  "The  Light  that  Failed,"  and  a  day  or  so  later  he  discovered  that 
Kipling  had  beaten  him  to  it  by  a  few  years. 

10.  Every  editor  knows  how  many  times  a  year  the  old  and  exhausted  idea  of 
"a  brother  and  sister,  ignorant  of  their  relationship,  in  love  with  each  other,"  is 
submitted  in  one  guise  or  another.  The  idea  is  dramatic,  and  when  one  first  con- 
ceives it  one  feels  that  this  is  the  story  that  will  startle  the  world.  A  week  or  two 
later  some  callous  editor  disillusions  one  by  saying  that  the  idea  was  threadbare  when 
Sophocles  was  a  babe  in  arms.  It  is  the  chief  function  of  this  work  to  guide  the 
writer  against  the  use  of  such  ideas — of  which  there  are  many — and  to  indicate  the 
opportunities  that  await  the  really  skillful  and  creative  author. 

PLAN    OF    STUDY. 

1.  In  the  following  chapters,  the  factors  other  than  Situation  involved  in  writ- 
ing photoplays  are  dealt  with.  This  is  an  important  part  of  the  work,  and  should  be 
carefully  read  before  proceeding  further.  In  these  chapters  you  will  be  cautioned 
against  the  artificial  manufacture  of  plots  as  mechanical  combinations  of  situations. 
Theme  and  Characterization  will  be  discussed,  and  methods  of  evolving  plots  will  be 
touched  on.     In  addition,  a  comprehensive  explanation  of  Situations  will   be  made. 


It  is  therefore  important  that  you  read  with  understanding  every  word  in  the  intro- 
ductory chapters  before  proceeding. 

2.  In  the  subsequent  chapters  related  and  associated  groups  of  Situations  will 
be  taken  up  individually,  with  reference  to  the  forms  and  phases  in  which  they  have 
been  used  in  photoplays.  Examples  will  be  cited  of  situations  in  photoplays  recently 
produced,  and  suggestive  comments  upon  the  effectiveness  or  lack  of  effectiveness  in 
their  use  will  be  made.  In  studying  the  situations  and  the  examples  of  their  use  it 
will  be  well  for  the  student  to  read  slowly  and  carefully,  for  by  the  very  nature  of 
the  work,  a  great  deal  of  information  is  condensed  into  a  brief  space,  though  it  is 
conveyed  simply  and  directly. 

3.  The  student  should  aim  to  familiarize  himself  in  a  general  way  with  the 
contents,  and  then,  after  writing  an  original  story,  should  determine  just  which  sit- 
uations he  has  used.  By  referring  to  the  comments  upon  those  situations,  the  writer 
will  readily  recognize  whether  his  story  is  hackneyed  or  novel,  effective  or  ineffective. 

4.  Read  slowly,  intelligently,  analytically,  and  you  will  find  that  your  imag- 
ination will  grasp  the  essentials  of  the  problem  of  situation  after  one  reading.  There- 
after, continue  your  study  and  test  everything  you  write  in  accordance  with  the  plan 
suggested  above. 

Note:  This  work  is  not  intended  as  a  complete  or  comprehensive  study  of  photo- 
play urritinff,  but  simply  of  the  fundamental  thirty-six  dramatic  situations  and  their 
use  in  the  photoplay.  Readers  interested  in  the  technique  of  photoplay  writing  art 
referred  to  the  Palmer  Plan  Handbook,  of  which  this  work  is  a  supplement. 


PART  ONE 


CHAPTER  I 


1.  Throughout  all  human  experience,  and  especially  throag-houV,  all-  iiuiinaii 
drama,  one  meets  constantly  with  the  same  fundamental  situations,  arising  Jrom  the 
same  fundamental  emotional  conflicts.  In  one  sense  a  situation  may  be  considered 
as  the  crisis  or  the  apex  of  an  emotional  conflict.  It  has  been  discovered  that  there 
are,  fundamentally,  thirty-six  human  emotions,  and  the  law  of  the  thirty-six  situa- 
tions is  an  interesting  corollary  of  this  discovery. 

2.  The  life  of  humanity  in  ancient  Greece  or  in  modern  America,  in  exotic 
China  or  industrialized  France,  in  the  frozen  reaches  of  the  North  or  under  tropic 
skies,  is  essentially  the  same.  As  far  into  the  future  as  human  imagination  may  travel, 
the  emotional  conflicts  of  human  nature  will  be  the  same.  For  the  slowest  changing 
element  in  the  universe  is  the  nature  of  man.  Human  nature  is  the  same  the  world 
over,  and  it  is  this  fact  that  makes  for  the  kinship  and  the  fellowship  of  humanity. 
In  the  history  of  ancient  Egypt  and  Babylon,  in  the  epics  of  Homer,  in  the  tragedies 
of  Shakespeare,  as  well  as  in  the  work  of  contemporary  writers,  we  find  the  same 
passions,  the  same  loves,  the  same  jealousies.  Colored  by  environment  and  tradition, 
at  bottom  the  story  of  Cinderella  is  the  same  as  the  story  of  a  play  now  making  a 
success  on  Broadway.  It  is  this  fundamental  correlation  of  emotional  experience  that 
links  us  with  the  past,  and  makes  real  to  us  the  emotions  of  mankind  of  centuries  ago. 
The  most  poignant  drama  of  history  is  that  of  the  sacrifice  of  Christ  on  the  cross, 
and  yet  we  shall  find,  as  we  come  to  consider  the  stories  of  today,  that  the  same 
concept  of  Self-sacrifice  for  an  Ideal  has  been  used  inspiringly  by  the  writer  whose 
work  we  enjoy  in  our  favorite  theatre. 

3.  All  fiction,  including  the  photoplay,  is  a  combination  of  certain  selected  sit- 
uations, as  we  shall  see  clearly  when  we  come  to  examine  and  analyze  the  examples 
of  photoplays  in  the  following  pages.  From  those  examples  we  shall  learn  what  sit- 
uations have  been  used  most  frequently,  and  why,  and  what  situations  have  been 
ignored.  Such  an  analysis  of  the  use  of  situations  in  the  photoplay  will  suggest  new 
combinations  and  new  uses,  and  at  the  same  time  will  offer  a  warning  against  the 
repetition  of  certain  combinations  that  have  been  repeated  in  the  same  guise  until 
they  no  longer  entertain  the  spectator. 

4.  We  read  fiction  and  we  go  to  the  theatre,  first  of  all,  to  be  entertained. 
When  we  read  a  work  on  philosophy  or  science,  it  is  for  the  specific  purpose  of  acquir- 
ing knowledge  in  the  most  direct  and  simplest  way.  But  fiction,  created  by  Fancy, 
is  the  relaxation  of  the  race.  Because  it  is  based  upon  the  fundamental  emotional 
conflicts  of  the  race,  and  because  it  deals  with  human  beings  struggling  against  odds, 
it  is  inspiring  to  each  of  us  in  our  daily  lives.  It  is  the  privilege  of  the  fictionist  to 
entertain  us,  and  incidentally  to  inspire  us.  And  the  photoplaywright,  with  an  aud- 
ience of  countless  millions,  has  the  opportunity  for  inspiring  the  race  to  new  hopes, 
new  dreams,  and  a  finer  kind  of  life.  First  of  all,  the  photoplaywright  should  learn 
to  respect  his  wide  audience,  and  to  give  them  the  best  work  of  which  he  is  capable. 
In  order  to  appeal  to  so  great  an  audience,  one  must  base  one's  appeal  upon  the  uni- 
versal language  of  humanity — the  emotions.  And  in  writing  for  the  screen  one's 
knowledge  of  the  innermost  emotions  of  humanity,  of  the  variations  and  subdivisions 
of  the  thirty-six  basic  situations,  is  more  essential  than  in  any  other  kind  of  writing. 

5.  A  thorough  acquaintance  with  the  thirty-six  dramatic  situations  upon  which 
all  drama  is  based  is  requisite  to  the  photoplaywright' s  success. 

13 


WHAT  IS  A  DRAMATIC  SITUATION  f 

6.  As  explained  above,  a  situation  may  be  considered  as  the  crisis  or  apex  of 
an  emotional  conflict.  In  every  conflict,  there  is  the  gradual  development  out  of 
repose,  the  ascent  to  a  crisis,  and  the  fall  to  repose  again.  All  human  relationships 
describe  such  an  emotional  curve.  A  Situation  occurs,  in  the  course  of  dramatic  action, 
VJhen  the  characters  are  so  brought  together  that  their  contrasts  and  conflicts  are  clear 
avd  dram'iiii,  that  the  central  character  is  placed  in  a  dilemma  in  which  he  must 
make  a  choice,  or  in  a  predicament  in  which  a  change  will  be  suffered,  or  is  con- 

■  fronttd  with  an  obstacle  to  be  overcome.  The  manner  in  which  the  characters  are 
brought  together  in  such  a  crisis  must  be  logical,  natural  and  seemingly  inevitable,  if 
the  situation  is  to  produce  the  desired  effect  upon  the  spectator — that  is,  to  arouse 
his  curiosity  as  to  the  outcome,  and  to  hold  him  in  a  state  of  suspense. 

7.  Elsewhere,  a  photoplay  situation  has  been  defined  as  a  Predicament  (in  the 
Palmer  Plan  Handbook),  and  we  shall  come  to  see  the  truth  of  this  definition  when 
we  turn  to  our  definite  examples. 

8.  In  our  examinations  of  the  various  phases  of  the  thirty-six  situations,  we 
shall  see  that  in  some  cases  the  crisis  is  clearly  indicated  by  a  simple  statement,  but 
that  more  often  the  crisis  is  implied  in  the  statement  of  the  principle  of  conflict.  In 
both  cases  the  reader  will  find  suggestions  for  new  variations  of  old  ideas  that  will 
lead  him  to  a  more  original  line  of  thought. 

WHAT  IS  A  PHOTOPLAY  SITUATION  ? 

9.  In  the  photoplay,  the  appeal  is  made  directly  to  the  mind  and  the  heart  of 
the  spectator,  by  means  of  a  clear  pictorial  presentation  of  a  conflict.  It  is  impor- 
tant, therefore,  in  considering  photoplay  situations,  that  we  bear  in  mind  the  neces- 
sity for  presenting  action  that  is  pictorially  interesting  and  conflicts  that  are  clear  and 
striking  in  pictures.  The  success  of  the  photoplay,  as  a  form  of  popular  entertain- 
ment, depends  upon  the  directness  and  clarity  of  its  appeal.  When  we  take  up  the 
situations  in  order,  we  shall  consider  not  only  their  dramatic,  but  also  their  screen, 
value.  Since  the  emotional  experiences  of  which  they  are  manifestations  antedate  the 
written  word,  it  will  be  clear  that  many  of  the  situations  are  more  effective  in  a  silent 
medium  such  as  the  screen  than  in  written  fiction. 

10.  A  photoplay  situation  may  therefore  be  defined  as  the  crisis  of  an  emotional 
conflict  that  can  be  clearly  presented  on  the  screen  by  means  of  pictures;  in  simpler 
terms,  a  Predicament  which  we  understand  when  we  see  the  actors  on  the  screen.  To 
take  a  clear  example,  the  unexpected,  but  logical,  entrance  of  a  husband  at  the  moment 
his  wife  is  entertaining  her  lover.  The  sight  of  the  three  persons  in  their  proper  places 
on  the  screen  is  sufficient  to  make  us  understand  the  situation — and  we  are  at  once  on 
the  alert  to  learn  what  the  husband  will  do,  what  the  wife  will  do,  and  what  the 
lover  will  do. 

11.  In  considering  a  situation  as  a  possible  one  for  use  in  the  photoplay,  one 
should  test  it  in  this  way.  Will  it  be  clear  in  pictured  action?  Will  every  member 
of  the  audience  be  moved  by  it?  Or  does  it  depend  upon  words,  or  is  it  vague  and 
ill-defined  ?  In  one  of  Constance  Talmadge's  pictures,  "A  Virtuous  Vamp,"  there  was 
a  very  brief  but  delightful  situation  which  serves  as  a  clear  example  of  what  a  photo- 
play situation  should  be.  In  that  story,  the  heroine  had  lost  several  jobs  with  a  large 
insurance  company  because  her  smile  and  her  eyes  worked  havoc  on  the  men.  At 
length  the  young  president  of  the  company,  who  thought  himself  a  woman-hater,  made 
her  his  stenographer.  One  of  his  friends  warned  him  about  her,  but  he  was  sure  of 
himself.  A  little  later  a  notorious  dancer  wanted  to  have  her  shoulders  insured,  and 
the  president  asked  the  girl  if  she  knew  whether  the  "shimmy"  was  a  dangerous  dance. 
The  girl  demonstrated.  Just  then  the  president's  friend  entered.  Not  a  word  was 
necessary  to  explain  the  feelings  of  the  characters,  for  it  was  all  very  clear  in  pictured 
action.    It  is  interesting  to  note  that  the  audience  appreciated  such  a  situation  a  great 

14 


deal  more  than  any  of  the  clever  titles  or  mere  incidents  that  occurred.  A  situation, 
whether  comedic  or  dramatic,  causes  a  very  definite  and  enjoyable  nervous  reaction  in 
the  spectator. 

THE  COMBINATION  OF  SITUATIONS. 

12.  Neither  of  the  brief  situations  we  have  mentioned  can  be  considered  as  more 
than  an  episode  when  it  appears  alone,  uncombined  with  others  of  equal  or  greater 
dramatic  strength.  Many  beginning  writers  do  very  good  work  in  the  early  part  of 
a  story,  in  presenting  one  or  two  slight  predicaments  that  are  of  real  interest,  but 
fail  to  develop  from  these  premises  a  really  strong  and  well-rounded  photoplay  plot. 
The  finished  plot  structure  requires  the  combination  of  a  number  of  dramatic  and 
interesting  situations;  all  plots  are  formed  from  such  combinations. 

13.  As  we  go  further  into  the  subject,  it  will  be  seen  that  some  of  the  situations 
are  very  well  suited  to  the  inception  of  a  plot,  but  that  they  lack  the  strength  that  i« 
required  in  a  climax.  If  a  writer  starts  a  play  effectively,  but  then  allows  it  to  become 
dull  and  lifeless  and  undramatic  (as  many  beginners  do)  it  indicates  that  he  has  been 
unable  to  combine  situations.  The  most  practical  use  of  a  work  of  reference  of  this 
kind  becomes  apparent  in  such  a  case.  Having  begun  a  story  on  a  plane  of  dramatic 
interest,  let  us  say  that  the  writer  is  unable  to  find  a  situation  which  will  logically 
follow  the  first,  that  he  is  "stumped"  for  further  plot  developments.  By  referring  to 
the  classified  situations  he  will  find  all  of  the  possible  developments  from  that  beginning, 
and  will  be  able  to  make  an  intelligent  and  dramatic  choice. 

THE    BACKBONE   OF   DRAMA. 

14.  Situations  may  be  called  the  backbone  of  drama,  for  without  them  any  fiction 
is  spineless  and  invertebrate.  This  is  especially  true  of  the  photoplay,  for  as  we  have 
explained  before,  the  situation  provides  the  most  direct  and  poignant  way  to  make  an 
appeal  to  the  spectator. 

15.  Masters  of  epigram  like  Bernard  Shaw  and  Oscar  Wilde  can  write  amusing 
satirical  plays,  but  most  of  their  work  fails  to  produce  a  genuinely  dramatic  effect. 
One  leaves  the  theatre  after  such  a  play  marvelling  at  the  author's  brilliance,  but 
unmoved  by  any  emotion.  Only  a  few  writers  have  succeeded  in  winning  popularity  in 
spite  of  violating  dramatic  principles,  and  even  the  best  work  of  Shaw  and  Wilde 
will  be  found  to  conform  to  the  age-old  and  invariable  principles  that  are  expressed 
in  the  following  pages. 

16.  In  order  to  make  a  real  appeal  to  the  emotions  of  an  audience,  the  writer 
must  place  his  characters  in  Situations.  And  to  make  such  an  appeal  is  the  primary 
aim  of  the  dramatist. 

17.  The  photoplay  is  a  form  of  drama.  In  its  technical  aspects  it  bears  a 
closer  resemblance  to  the  stage  play  than  to  any  other  form  of  fiction,  but  it  differs 
from  the  stage  play  in  that  it  is  purely  objective,  and  makes  its  appeal  through  pictured 
action.  Also,  it  is  free  from  the  limitations  of  the  division  into  acts  and  from  the  fur- 
ther limitation  of  preserving  one  strict  and  confining  locale.  The  photoplay  brings 
into  play  every  emotion  which  can  be  objectively  expressed,  whether  by  action  or  gesture 
or  play  of  feature.  It  is  action  performed  by  actors  for  the  purpose  of  conveying  emo- 
tion and  making  a  definite  emotional  appeal  to  an  audience. 

18.  It  might  be  more  correct  to  say  that  the  photoplay  is  narrative  in  movement, 
dramatic  in  its  crises,  and  integral  in  its  cumulative  effect;  but  it  is  more  closely  related 
to  drama  than  to  narrative. 

19.  Without  situations,  fiction  and  drama  will  be  a  mere  sequence  of  irrelevant 
incidents.  In  themselves  such  incidents  may  be  of  interest.  They  may  be  revelatory 
of  character,  or  expressive  of  a  significant  theme.  But  unless  they  are  co-ordinated  upon 
a  solid,  firm  foundation  they  will  fall  short  of  producing  a  dramatic  appeal.  Every 
photoplay  must  have  a  spinal  column  of  situation. 

IS 


20.  In  a  novel  we  may  be  amused  or  entertained  by  the  irrelevant  incidents  and 
comments  the  author  chooses  to  include.  We  may  even  enjoy  the  personality  of  the 
author  as  it  is  revealed  by  his  comments  on  his  characters,  by  his  opinions  on  philos- 
ophy, art,  music,  or  any  one  of  a  hundred  subjects.  But  in  the  drama,  there  is  no 
room  for  the  intrusion  of  the  definite  personality  of  the  author.  Nothing  irrelevant 
must  be  allowed  to  come  between  the  audience  and  the  characters  of  the  play.  In  a 
novel,  by  reading  a  chapter  or  two,  we  may  often  learn  a  great  deal  of  the  author's 
personality.  A  page  of  Jack  London  is  as  strong,  as  forceful,  as  magnetic  as  the  man 
himself.  Countless  notes  and  observations  on  life  color  and  lend  interest  to  the 
novel.  But  in  the  photodrama,  the  author's  personality  is  revealed  only  indirectly — 
by  his  choice  of  theme,  by  his  selection  of  material,  and  by  his  constructive  skill.  The 
personality  of  the  author  is  not  before  the  spectator,  for  the  photodramatist's  duty  is 
to  create  characters  and  dramatic  action  that  will  awaken  sympathy  or  mirth  in  the 
spectator.  He  must  tell  an  interesting  story  in  a  dramatic  way — that  is,  in  a  way  that 
will  awaken  emotional  interest  directly  and  objectively. 

21.  Although  the  importance  of  situations  in  a  photoplay  cannot  be  over-esti- 
mated, it  must  be  remembered  that  they  merely  form  the  backbone  of  the  drama.  It 
will  not  do,  as  some  writers  have  imagined,  simply  to  combine  a  few  situations,  and 
let  the  combination  stand  as  a  finished  work.  In  addition,  the  rest  of  the  organism 
must  be  supplied — the  flesh,  bone,  blood  and  sinew  that  go  to  make  up  a  complete, 
living  reality.  Without  the  backbone  of  situation,  a  drama  is  very  deficient.  But 
without  the  other  important  factors,  it  is  no  less  unreal  and  artificial. 


16 


CHAPTER  II 

Theme. 

1.  Not  until  we  have  ivriters  zvho  are  concerned  with  Theme  will  we  have 
truly  satisfactory  photoplays.  The  theme  of  a  photoplay  is  the  underlying,  unifying, 
basic  idea.  It  is  the  concept  behind  the  entertainment  that  unifies  the  action  and 
makes  more  impressive  the  dramatic  effect.  Without  a  theme,  a  photoplay  will  be  a 
mere  aimless  story,  having  little  real  significance  for  the  spectators.  But  with  a  strong, 
interesting,  appealing  theme,  a  story  may  have  a  tremendously  impressive  effect  upon 
the  spectator.  In  our  consideration  of  examples  we  shall  find  one  photoplay  in  which 
the  central  character  goes  out  into  the  world  to  find  the  true  God.  The  theme  of 
that  story — the  quest  for  the  true  God — has  been  a  fundamental  concern  of  humanity 
for  centuries.  It  is  a  significant  and  vital  theme,  forming  the  basis  of  most  written 
philosophy.  But  in  the  photoplay,  it  was  also  developed  into  a  splendid  story.  With- 
out the  co-ordinating,  unifying  theme,  the  action  of  the  story  would  have  been  meaning- 
less and  unimportant.     But  the  theme  unified  it,  vitalized  it,  and  made  it  significant. 

2.  Every  thinking  human  being  has  one  central  idea  that  forms  the  nucleus  of 
his  working  philosophy,  and  about  which  his  whole  life  is  focused.  The  religious  per- 
son possesses  a  definite  religious  philosophy  that  expresses  his  relationship  to  his  fellows. 
The  agnostic  and  the  atheist  similarly  have  their  philosophies  of  life.  Each  individual 
is  concerned  with  one  Theme  more  than  with  any  other.  A  certain  American  poet, 
who  has  written  volumes,  gives  a  new  version  of  his  fundamental  philosophy  with  every 
poem,  sometimes  without  being  conscious  of  doing  so.  The  greatest  writers  of  all 
times  have  been  concerned  with  Theme,  with  translating  the  big  idea  of  their  personal 
philosophies  into  understandable  terms  for  others.  Whether  one  acquires  his  philos- 
ophy of  life  from  wide  reading  or  from  a  study  of  human  nature,  one  must  possess  a 
certain  attitude  of  mind  by  which  experiences  are  interpreted. 

3.  One  of  the  clearest  examples  in  literary  history  is  perhaps  that  of  Jack  Lon- 
don, especially  in  his  novel,  "The  Sea  Wolf."  London  was  a  student  of  philosophy, 
and  he  was  especially  interested  in  the  philosophical  conflict  between  materialism  and 
idealism,  which  is,  of  course,  as  old  as  history.  The  basic  idea  of  that  conflict  made 
so  deep  an  impression  upon  him  that  he  sought  to  interpret  it  in  human  terms,  in  "The 
Sea  Wolf."  The  theme  he  chose  unifies  and  underlies  all  of  the  action  of  the  book, 
and  renders  it  more  significant  than  the  story  could  possibly  have  been  if  it  were  merely 
a  tale  of  the  sea.  For  in  it  we  are  privileged  to  read  of  the  actual,  human  conflict 
between  a  strong  materialist  and  an  idealist  who  ultimately  won  out.  In  its  human 
terms  we  are  more  impressed  by  the  drama  of  individuals  than  wc  could  possibly  be  by 
dry  tomes  in  which  the  same  subject  is  discussed.  So,  too,  does  the  theme  of  a  really 
great  photoplay,  such  as  "The  Miracle  Man,"  which  is  based  upon  a  variation  of  the 
same  conflict  as  "The  Sea  Wolf,"  underly  and  unify  and  make  impressive  every  clement 
of  the  plot.  It  is  the  big  idea  which  compels  the  thoughtful  attention  of  the  spectator, 
even  after  the  lesser  entertainment  value  of  the  plot  itself  has  been  forgotten. 

4.  Every  situation  in  the  following  pages  may  be  analyzed  as  the  dramatic  expres- 
sion of  a  basic  theme,  and  in  addition  many  other  themes,  inspired  by  reading  or  obser- 
vation, will  suggest  new  combinations  of  situations.  If  the  theme  forms  the  basis 
of  the  writer's  work,  his  use  of  situations  will  be  logical,  natural  and  inevitable,  for 
they  will  be  selected  because  they  help  to  express  the  idea  that  the  author  wishes  to 

17 


convey.  With  an  audience  of  millions  the  photoplaywright  should  pay  especial  atten- 
tion to  the  selection  of  his  themes.  They  should  be  chosen  because  of  the  universality 
of  their  appeal,  because  of  their  simplicity  and  significance,  and  because  the  author  feels 
that  they  will  help  his  audience  to  understand  and  to  appreciate  the  inspiring  strug- 
gles of  other  people. 

5.  Critics  without  d'scernment  profess  to  see  no  themes,  no  significance  other 
than  the  superficial  plot  action,  in  light  comedy  dramas,  in  some  melodramas,  and  in 
comedies.  But  even  in  these  least  serious  forms  of  the  photoplay,  in  the  best  examples, 
we  shall  find  the  underlying  thematic  significance.  Take,  for  example,  the  ancient 
comedy  idea  of  the  interfering  mother-in-law  and  of  the  efforts  of  the  young  newly- 
weds  to  become  free.  It  may  seem,  to  the  superficial  observer,  that  such  a  comedy  is 
mere  farce,  but  if  the  subject  be  treated  skillfully,  it  will  have  a  real  significance  for 
those  spectators  who  may  be  in  a  like  predicament. 

6.  The  thoughtful  writer  will  always  be  primarily  concerned  with  the  themes 
of  his  stories,  but  he  will  also  recognize  that  bare  themes  possess  no  entertainment 
value,  that  they  will  not  hold  the  interest  of  the  audience.  It  is  therefore  necessary 
to  translate  the  theme  you  wish  to  suggest  into  a  clear,  dramatic  and  interesting  story, 
aiming  primarily  to  hold  the  spectator's  interest  and  to  make  an  emotional  appeal. 
If  you  have  the  theme  in  mind  while  you  are  creating  your  characters,  selecting  your 
situations  and  building  your  plot,  it  will  take  care  of  itself.  But  the  importance  of 
having  a  theme,  and  a  really  vital  one,  can  not  be  over-emphasized. 

CHARACTERIZATION. 

7.  In  Jack  London's,  "The  Sea  Wolf,"  the  theme  dealt  with  the  conflict  between 
Materialism  and  Idealism.  The  two  central  characters  of  the  story  are  the  direct, 
human  manifestations  of  the  elements  of  the  theme.  Wolf  Larsen  is  the  incarnation 
of  materialism;  Van  Weyden  is  his  very  opposite  and  the  personification  of  Idealism. 
Similarly,  in  that  successful  photoplay,  "The  Miracle  Man,"  the  thematic  conflict 
is  between  a  patriarch,  whose  faith  and  love  are  all-embracing,  and  a  crook,  who  is 
desirous  of  purely  material  success.  But  in  addition  to  this  tense  theme  of  the  basic 
conflict  between  Idealism  and  Materialism,  treated  quite  differently  in  "The  Miracle 
Man"  than  in  "The  Sea  Wolf,"  there  is  a  poignant  human  conflict  between  two  real 
men.  Once  you  have  selected  a  theme,  the  elements  of  conflict  in  a  story  will  be  fairly 
clear;  but  in  order  to  interest  an  audience  those  conflicting  elements  must  be  repre- 
sented by  understandable,  human  beings,  by  living,  breathing  characters.  Mere  types 
will  not  suffice,  for  the  characters  of  a  photoplay  must  be  real  to  win  the  sympathy 
of  the  spectator,  or  to  arouse  any  other  emotion.  The  out-and-out  villain  of  the  old- 
time  melodrama  is  no  longer  interesting,  except  in  burlesque,  and  the  too-noble  hero 
is  likewise  a  person  of  the  unreal  past.  Not  only  must  the  characters  of  a  play  express 
the  conflict  of  the  theme,  but  they  must  also  be  real  human  beings  who  win  the  aud- 
ience by  their  reality. 

8.  Too  often  in  the  past  writers  of  the  "hack"  type  have  sought  to  manufacture 
plots  simply  by  combining  situations.  Too  little  thought  has  been  given  to  the  impor- 
tant matters  of  theme  and  characterization.  But  more  and  more  the  producers  and 
the  public  are  demanding  vital  themes  and  living,  real  characterization. 

9.  Even  the  most  frequently  used  situations  can  be  given  new  life  and  color  by 
good  characterization,  and  in  the  creation  of  character  the  individual  author  has  room 
for  all  the  originality  and  skill  he  can  command.  In  portraying  characters  for  the 
screen  their  every  action  must  be  recorded.  There  is  no  room  for  the  description  of 
a  novel  or  the  dialogue  of  a  stage  play.  By  the  first  action  of  a  character  upon  enter- 
ing a  scene,  the  author  should  present  him  in  a  striking  and  novel  manner  to  the  spec- 
tator. In  selecting  material  for  characterization — names,  habits,  mannerisms,  etc. — 
the  author's  knowledge  of  life  and  his  power  of  observation  will  be  revealed,  as  well  as 
his  ability  to  carry  a  definite  line  of  thought — a  Theme  into  its  many  ramifications. 

18 


10.  Since  every  situation  is  the  crisis  of  an  emotional  conflict,  the  necessity  for 
drawing  characters  in  evenly  balanced  conflicts  will  be  apparent.  Given  a  certain 
theme,  and  having  selected  certain  characters,  there  will  come  to  mind  the  most  effec- 
tive situations  to  carry  the  conflict  still  further  into  definite,  clear-cut  dramatic  action. 
The  absurdity,  for  example,  of  drawing  a  light-hearted,  rollicking,  romantic  central 
character  and  then  placing  him  in  a  situation  of  Vengeance  will  be  readily  granted, 
for  such  a  character  would  not  feel  the  deep,  concentrated  desire  for  vengeance.  Writ- 
ers often  make  the  error  of  creating  an  interesting  character  and  then  placing  him  in 
a  plot  so  out  of  harmony  with  his  personality  that  the  total  effect  is  ludicrous.  Here, 
again,  lies  the  value  of  Theme,  for  if  the  theme  and  characters  harmonize,  the  sit- 
uations selected  to  carry  out  the  thematic  conflict  must  of  necessity  be  consistent. 

11.  The  inconsistencies  of  characterization  are  at  the  root  of  the  faults  of  most 
writers.  Too  often  the  photoplaywright  has  drawn  a  character  from  life  and  has  then 
made  him  perform  certain  arbitrary  actions  simply  to  create  a  punch,  to  bring  about 
a  smashing  climax.  But  if  the  situations  and  the  plot  are  not  the  logical,  natural  and 
seemingly  inevitable  product  of  the  inter-relation  of  the  characters,  they  \vill  be  artificial 
and  unreal.  In  making  every  element  of  a  story  consistent  and  harmonious  lies  the 
author's  opportunity  to  practice  the  art  which  conceals  art.  The  moment  the  spectator 
is  allowed  a  single  reason  to  doubt  the  realit}'  of  a  character's  action,  the  tension  of 
the  play  is  lost  and  the  dramatic  effect  is  gone. 

12.  But  although  the  plot  should  be  the  natural  result  of  the  characters  react- 
ing one  upon  the  other,  it  is  equally  ineffective  to  have  the  plot  a  mere  natural  sequence 
of  incidents.  Such  incidents  may  reveal  your  characters,  but  if  they  do  not  advance 
the  plot  a  step  further  towards  the  crisis,  if  they  do  not  lead  to  a  big  situation,  they 
will  be  of  no  dramatic  value.  Just  as  some  writers  have  given  too  much  thought  to 
situation,  to  the  detriment  of  their  characters  and  themes,  so  have  others  concentrated 
entirely  upon  characters  and  have  failed  to  tell  a  dramatic  storj'.  Since  the  photoplay 
is  a  dramatic  medium,  it  does  not  offer  the  same  chance  for  studies  in  characterization 
and  atmosphere  as  other  forms  of  fiction.  To  provoke  dramatic  interest,  there  must 
be  a  Plot,  and  plot  is  dependent  upon  Situation. 

13.  Further,  characters  selected  for  photoplays  must  have  a  pictorial  interest. 
Commonplace,  ordinary  persons  of  everyday  life,  however  human  they  may  be,  are  not 
pictorially  interesting.  And  such  persons,  so  long  as  they  are  commonplace  and  ordi- 
nary, are  not  likely  to  be  placed  in  interesting  predicaments.  Consider  the  people  of 
your  acquaintance,  and  determine  which  of  them  have  the  qualities  that  interest  others. 
You  may  know  a  man  who  is  continually  having  adventures,  and  if  you  will  study 
him  you  will  find  that  he  possesses  a  certain  quality  of  mind  that  makes  those  adven- 
tures possible.  He  may  be  a  romancer,  a  dreamer,  a  bit  unusual  in  some  way,  and 
his  experience  will  take  on  the  color  and  romance  of  his  personality.  He  will  see  things 
the  average  person  passes  by  in  blindness.  Such  a  character  is  interesting,  because  he 
brings  to  those  who  meet  him  the  experiences  they  have  missed.  Photoplay  characters 
should  be  the  kind  of  people  the  author  likes  to  meet  in  real  life,  for  then  they  will 
probably  be  of  genuine  interest  to  others. 

14.  When  we  say  that  an  interesting  character  brings  to  his  experience  a  quality 
of  mind  that  is  unlike  that  of  other  people,  we  emphasize  his  individuality.  But  fur- 
ther than  that,  we  indicate  the  reason  for  his  experience.  Given  a  certain  individual 
in  a  certain  environment,  and  inevitably  some  kind  of  action  will  result.  The  action 
of  a  story  should  grow  naturally  from  the  theme  and  characterization,  but  in  addition 
it  should  be  constructed  in  a  dramatic  plot.  It  is  in  the  building  of  plots  that  the 
photoplajrwright  requires  genuine  dramatic  skill. 


19 


CHAPTER  III 

Plot. 

1.  Plot  interest  is  a  blending  of  the  expected  with  the  unexpected.  In  the 
brief  example  cited  before,  in  which  we  had  the  three  characters — husband,  wife,  and 
lover — placed  in  a  predicament,  there  was  splendid  opportunit\'  for  such  a  blending  of 
the  expected  and  the  unexpected.  In  Lois  Weber's  production,  "For  Husbands  Only," 
this  situation  formed  the  climax  of  the  play.  The  audience  knew  that  the  husband 
would  reach  home  while  the  other  man  was  there,  and  the  suspense  was  so  well  devel- 
oped that  no  one  knew  what  would  happen.  The  plot,  however,  consisted  of  a  great 
deal  more  than  the  situations  forming  its  backbone.  Every  detail  of  action,  down  to 
the  least  important  telephone  conversation,  was  a  carefully  selected  incident  that 
definitely  advanced  the  plot.  The  same  theme  underlay  all  the  action,  and  the  char- 
acters and  the  plot  incidents  were  selected  because  they  gave  a  clear  and  dramatic 
presentation  of  that  theme. 

2.  Plot  action  is  that  quality  of  a  photoplay  which  arouses  and  sustains  the 
interest  of  the  spectator,  constantly  exciting  his  curiosity,  filling  him  with  doubt,  evok- 
ing his  sympathies,  and  otherwise  keeping  his  mind  upon  the  problem  of  the  play  and 
upon  everything  that  is  done  from  moment  to  moment. 

3.  The  simplest  kind  of  a  plot  is  that  in  which  a  character  is  placed  in  a  predica- 
ment, kept  there  as  long  as  suspense  can  be  maintained,  and  then  extricated  in  a  sur- 
prising but  logical  way.  But  in  addition  to  the  bare  predicament,  the  photoplaywright 
must  provide  interesting  and  logical  reasons  for  the  character  getting  into  the  predica- 
ment, logical  causes  for  his  inability  to  get  out,  and  finally  a  logical,  but  unforeseen, 
escape.  In  a  simple  case  of  this  kind,  the  central  situation  will  often  suggest  the  plot 
action  that  logically  precedes  and  follows  it,  but  the  plot  material  must  be  so  carefully 
selected  that  it  will  not  be  obvious  to  the  spectator.  Unless  you  can  hold  the  audience 
in  suspense  until  the  end  of  the  story,  you  cannot  produce  a  dramatic  effect. 

4.  In  the  following  pages  we  shall  deal  with  concrete  examples  of  Situations  that 
have  been  so  used  as  to  produce  suspense,  to  good  or  "bad  advantage. 

THE  PLOT  OUTLINE. 

5.  After  having  selected  a  theme,  visualized  characters  and  worked  out  the  gen- 
eral plot  ideas,  it  is  often  a  good  plan  to  make  a  rough  plot  outline.  The  simplest 
method  is  to  put  down  the  numbers  from  one  to  fifty  and  to  write  a  definite  plot  inci- 
dent opposite  each  number.  In  a  strong  plot  the  sequence  of  events  is  logically  from 
cause  to  effect,  and  the  climax  occurs  as  the  natural  and  logical  product  of  the  preceding 
action.  By  incident,  in  this  connection,  we  mean  concrete  dramatic  happenings  of  vital 
importance  to  the  plot  as  a  whole,  not  merely  incidental  action  of  no  plot  importance. 
If  the  incidents  are  carefully  selected  in  accordance  with  the  theme  and  characteriza- 
tion of  the  story,  and  are  so  organized  that  they  approach  a  definite  climax,  tliey  will 
usually  form  a  clear  and  dramatic  skeleton  of  the  plot. 

6.  To  illustrate  just  how  the  plot  outline  should  be  constructed,  and  to  indicate 
as  well  the  logical  sequence  of  incidents,  let  us  consider  a  definite  example.  "The 
Golden  Chance,"  produced  by  the  Lasky  Company,  starring  Wallace  Reid  and  Cleo 
Ridgely,  will  excellently  serve  this  purpose. 

20 


OUTLINE  OF  "THE  GOLDEN  CHANCE" 
By  Jeanie  MacPheisoh. 

7.      (1.)      The  heroine,  unfortunately  married  to  a  cruel  and  drunken  husband, 
secures  a  position  as  seamstress  in  a  wealthy  home. 

(2.)  In  the  wealthy  home  the  master  is  trying  to  persuade  the  hero,  a  young 
Western  millionaire,  to  make  an  investment. 

(3.)     The  woman  of  wealth  invites  the  hero  to  remain  as  their  guest,  promising 
to  give  a  dinner  and  to  invite  the  prettiest  girl  in  New  York. 
(4.)      The  hero  laughingly  consents  to  remain. 

(Note  that  these  definite  incidents  are  purely  introductory  and  that  they  are  all 
on  the  plane  of  repose.  There  is  something  of  Situation  VII,  "Falling  Prey  to  Cruelty 
and  Misfortune,"  in  the  heroine's  first  predicament,  but  the  plot  has  not  yet  begun 
to  ascend  towards  its  dramatic  climax.  Note  also  the  characters  that  are  established  by 
these  four  simple  incidents: — the  unfortunate  wife,  the  drunken  husband,  and  the  inter- 
esting hero,  who  wishes  to  meet  the  prettiest  girl  in  New  York.  Without  much  further 
characterization,  we  know  that  something  will  happen  with  such  a  triad,  and  it  is 
almost  sure  to  be  of  dramatic  interest.) 

(5.)  At  the  last  moment,  the  prettiest  girl  in  New  York  cannot  come  to  the 
dinner,  and  the  hostess,  afraid  to  disappoint  her  guest,  urges  the  heroine  to  pose  as  the 
girl  for  the  evening. 

(There  is  a  slight  element  of  chance  in  this  incident,  in  the  girl's  inability  to  come 
to  the  dinner,  but  it  is  natural  and  convincing  because  of  its  relative  unimportance  and 
because  it  does  not  strain  our  credulity.  Also,  since  it  is  the  beginning  of  the  story, 
the  author  is  allowed  certain  liberty  in  establishing  his  premises.) 

(6.)     The  heroine,  who  was  once  wealthy,  consents  to  take  the  girl's  place.     (In 

this  incident  we  have  a  partial  example  of  Situation  XXX,  "Ambition,"  and  it  further 

serves  to  make  even  more  clear  our  knowledge  of  the  heroine  and  to  establish  s\ispense.) 

(7.)      The  heroine,  clad  in  evening  gown  and  jewels,  meets  the  hero,  and  their 

interest  in  one  another  is  established. 

(8.)  The  heroine,  though  charmed  by  her  dinner  companion,  knows  that  no 
affection  can  be  allowed  to  develop  between  them  because  of  her  marriage,  and  puts 
him  off  lightly,  only  charming  him  the  more  by  such  tactics. 

(Here  again  the  element  of  suspense  is  brought  in,  and  the  preparation  is  made 
for  the  heroine's  later  predicament.) 

(9.)     At  midnight  the  heroine  slips  away  and  goes  home. 

(10.)  Back  in  her  squalid  slum  tenement,  her  husband  beats  her  and  takes  the 
money  she  has  earned  away  from  her. 

(This  involves  another  use  of  Situation  VII,  already  noted,  and  also  brings  in 
Situation  VIII,  "Revolt,"  for  there  is  that  element  in  the  heroine's  comparison  between 
her  husband  and  the  man  she  met  the  night  before.) 

(11.)  The  hero  insists  to  his  hostess  that  he  meet  the  heroine  again,  and  begs 
her  to  invite  the  "prettiest  girl  in  New  York"  to  another  dinner. 

(12.)      The  wealthy  woman  tries  to  evade  the  hero's  insistent  demands,  but  fails. 
(13.)      In  desperation  she  again  calls  the  heroine  and  begs  her  to  continue  the 
substitution  over  the  week-end,  at  the  end  of  which  time  the  hero  wQl  return  to  the 
West. 

(Observe  the  careful,  logical  motivation  of  each  of  these  incidents  and  how  one 
naturally,  logically  and  almost  inevitably  grows  from  the  preceding.  First  of  all,  the 
author  took  great  pains  to  lay  a  strong  foundation  in  his  premise,  and  then  every  sub- 
sequent incident  occupies  its  proper  place.) 

(14.)  The  heroine  consents  to  continue  the  substitution,  in  order  to  avoid  her 
husband  and  to  earn  the  money. 

21 


(15.)  The  heroine  tells  her  husband  she  is  going  to  work  in  a  laundry,  and 
leaves  the  same  day  for  the  home  of  her  hostess. 

(16.)  The  hostess  hires  a  new  butler,  one  better  qualified  to  superintend  the 
elaborate  preparations  for  the  entertainment  of  the  Western  millionaire. 

(17.)  The  butler,  who  has  underworld  associates,  observes  the  diamonds  worn 
by  the  heroine,  and  gossips  to  a  friend. 

(18.)  The  butler's  friend  knows  the  drunken  husband  and  tells  him  of  the 
diamonds  worn  by  the  guest  at  a  certain  house. 

(Note  the  thorough  and  convincing  preparation  for  the  meeting  between  the 
characters  of  the  dramatic  triad.  What  might  have  been  a  bald  coincidence  is  here 
made  plausible  and  real,  by  the  careful  attention  to  details.  Note  also  the  lifelike  irony 
in  the  fact  that  the  woman  of  the  diamonds  is  the  dnmken  husband's  own  wife.  Such 
preparation  postpones  the  climax  as  long  as  possible,  and  holds  the  spectators  in  sus- 
pense. Yet  there  is  nothing  non-essential  in  the  foregoing  incidents.  Each  event 
brings  the  action  that  much  closer  to  the  climax.) 

(19.)     The  hero  makes  love  to  the  heroine. 

(20.)  The  heroine  really  responds,  but  realizes  the  impossibility  of  carrying  on 
the  deception,  and  seeks  to  evade  the  hero. 

(Observe  how  the  author  is  tightening  the  knots  that  bind  the  heroine,  how  he 
is  making  her  suffer  and  conveying  that  suffering  to  the  spectator,  who  knows  all  the 
circumstances  of  the  case.) 

(21.)  The  heroine,  torn  with  emotion,  runs  from  the  hero  and  goes  to  her 
room. 

(22.)     The  hero  smiles  after  her  and  is  confident  that  he  can  win  her. 

(23.)  The  drunken  husband  prepares  for  the  burglary  of  the  house  where  the 
diamonds  are. 

(24.)     The  husband  effects  an  entrance  into  the  house  through  a  window. 

(25.)     The  room  he  enters  is  that  of  his  wife. 

(But  observe  that  in  the  production  the  husband  does  not  immediately  discover 
his  wife.  Instead  the  audience  is  held  breathless  in  the  tight  grip  of  suspense,  waiting 
for  the  next  step.) 

(26.)     The  husband  picks  up  a  silk  stocking  and  grins  salaciously. 

(27.)     He  starts  towards  the  bed. 

(28.)      He  changes  his  mind  and  goes  to  the  dressing  table. 

(29.)     He  gathers  up  the  jewels,  leisurely,  critically. 

(30.)     Again  he  turns  to  the  bed. 

(31.)  The  wife  awakens  and  stares,  frightened,  into  the  face  of  her  leering 
husband. 

(32.)  The  husband  looks  down  at  her  and  contemptuously  says,  "Some 
Laundry." 

( Note  the  maintained  suspense  in  these  incidents,  and  also  the  natural,  quick  way 
in  which  the  author  has  relieved  the  tension  with  a  comedic  subtitle.) 

(33.)     The  wife  tries  to  take  the  jewels  away  from  her  husband. 

(34.)     They  struggle  together. 

(35.)      Sounds  of  awakening  are  heard  throughout  the  house. 

(36.)     The  burglar-husband  senses  danger  and  tries  to  escape. 

(37.)     The  hero  captures  him. 

(38.)  The  husband  announces  that  he  is  merely  calling  upon  his  wife,  pointing 
to  her. 

(39.)     The  wife  sees  the  hero's  look  of  dismay  and  tries  to  lie. 

22 


(40.)  The  husband  accuses  her,  and  she  tearfully  confesses  that  she  is  married 
to  him. 

(41.)      The  hero  naturally  interprets  the   relationship  as  a  game  to  fleece  him 
and  scorns  his  host  and  hostess  as  w  ell  as  the  heroine. 
(42.)      The  husband  takes  the  heroine  home. 

(43.)  The  husband  and  his  crook  pal  plan  to  fleece  the  hero  by  means  of  the 
badger  game. 

(44.)  They  force  the  heroine  to  write  a  letter,  telling  the  hero  that  she  is  in 
terrible  danger  and  asking  him  to  come. 

(45.)  She  takes  advantage  of  an  opportunity  provided  by  the  men's  drinking 
to  scrawl  on  the  back  of  the  letter,  "Don't  come!" 

(In  incidents  40  and  41  we  have  a  clear  example  of  Situation  XXXIII,  "Errone- 
ous Judgment,"  in  the  hero's  misjudging  of  the  heroine.  Subsequently  we  have  a 
logical  sequence  carrying  the  suspense  still  further,  but  incident  41  marks  the  beginning 
of  the  denouement,  or  untying,  of  the  knots.) 

(46.)  The  words,  "Don't  Come,"  on  the  back  of  the  note  convince  the  hero 
that  the  heroine  is  straight  and  a  victim  of  cruelty  and  misfortune.  He  therefore 
answers  her  summons,  first  telling  his  Japanese  valet  to  call  the  police  if  he  does  not 
return  within  a  few  minutes. 

(Situation  II,  "Deliverance;"  Situation  IX,  "Daring  Enterprise.") 

(47.)  When  all  of  the  characters  are  brought  together  the  police  answer  the 
valet's  call. 

(48.)      In  the  big  fight  that  follows  the  drunken,  incompetent  husband  is  killed. 

(The  death  of  the  husband  is  logical  and  plausible  in  this  case,  because  his  drunk- 
enness and  incompetence  have  been  emphasized  throughout  the  story.  We  feel  that  he 
is  incapable  of  even  putting  up  a  good  fight  and  that  he  should  be  killed,  as  a  perfectly 
natural  result.) 

(49.)  The  broken,  tearful  heroine  is  comforted  by  the  hero,  who  at  last  under- 
stands. 

(50.)      The  story  ends  with  the  happiness  of  the  two. 

8.  In  each  of  the  fifty  incidents  something  definite  happens.  There  is  action,  and 
genuine  dramatic  action,  with  each  new  occurrence.  We  proceed  directly  to  the  goal 
we  set  for  ourselves,  the  happiness  of  the  hero  and  heroine,  and  every  factor  in  the 
story  is  closely  related  to  the  central  theme — that  however  great  may  be  one's  mis- 
fortunes, one  will  ultimately  win  out  by  courage,  nobility  and  strength.  As  an  example 
of  unified  action,  in  which  every  incident  converges  upon  the  development  of  the  single 
plot,  this  story  is  especially  valuable.  It  will  be  observed,  as  well,  that  the  unities  of 
time  and  place  are  also  carefully  preserved.  Many  writers,  in  dealing  with  a  hero 
who  came  from  the  West,  would  introduce  him  in  his  home  locale.  But  the  author 
of  "The  Golden  Chance"  knew  the  value  of  elimination,  and  started  the  story  with  the 
incident  that  really  sets  the  action  in  movement. 

9.  In  "The  Golden  Chance"  we  find  examples  of  the  use  of  Situations  VII, 
XXX,  XXXIII,  II  and  IX,  in  a  combination  that  is  interesting,  cumulative  and 
dramatic  in  the  extreme. 

PLOT  LOGIC. 

10.  In  "The  Golden  Chance"  plot  logic  is  clearly  indicated,  but  it  is  not  to  be 
supposed  that  the  photoplaywright  can  select  his  fifty  odd  incidents  and  write  them 
out  without  a  great  deal  of  consideration.  The  plot  outline  is  especially  useful  because 
one  can  go  over  it  many  times,  changing,  eliminating,  and  adding  wherever  the  plot 
steps  are  weak,  vague,  or  illogical.  Suppose,  for  example,  that  incident  "5"  did  not 
suit  the  author.  He  might  write  it  down  tentatively,  but  he  would  place  a  mental 
question  mark  after  it,  and  later  on  would  endeavor  to  find  a  more  suitable  incident 

23 


to  accomplish  the  same  dramatic  effect.     The  plot  outline  is  useful  because  it  sim- 
plifies the  process  of  analysis. 

11.  There  is  one  way  of  testing  the  logic  of  plot  incidents  that  deserves  men- 
tion. That  is  to  place  the  word  "because"  before  each  incident  and  to  make  each  suc- 
cessive step  in  the  plot  definitely  the  result  of  what  goes  before.    Thus : 

12.  Because  the  heroine  is  married  to  a  drunken  husband  she  secures  a  position 
as  seamstress  in  a  wealthy  home. 

13.  Because  she  wishes  to  free  herself  from  the  squalid  tenement  life,  and,  there- 
fore, 

14.  Because  of  her  beauty  and  grace,  she  is  asked  to  pose  as  a  woman  of  wealth, 

15.  Because  the  hostess  wishes  to  present  the  "prettiest  girl  in  New  York"  to  a 
young  Western  millionaire, 

16.  Because  her  husband  is  trying  to  interest  the  millionaire  in  an  investment, 
etc.,  etc. 

17.  In  this  way,  if  the  word  is  used  correctly  and  legitimately,  every  plot  inci- 
dent will  occur  in  a  logical  sequence  of  cause  and  effect. 


24 


CHAPTER  IV 
The  Emotional  Curve. 

1.  In  every  conflict,  there  is  the  gradual  development  out  of  repose,  the  ascent 
to  a  crisis,  and  the  fall  to  repose  again.  All  human  relationships  describe  sucli  an  emo- 
tional curve,  sometimes  clear  and  definite,  as  in  the  example  we  have  considered,  some- 
times more  vague  and  less  clear  in  outline.  The  crises  that  can  be  most  clearly  and 
objectively  presented  to  an  audience  are  naturally  the  best  from  the  dramatic  stand- 
point. In  a  psychological  novel  or  short  story,  a  vague  and  many-sided  conflict  of  a 
purely  subjective  kind — such  as  a  man's  inner  struggle  with  his  conscience — may  be 
employed.  But  on  the  stage,  and  especially  on  the  screen,  clear,  sharp,  objective  con- 
flicts that  ascend  to  understandable  crises  are  the  most  effective. 

2.  Tlie  plot  action  of  "The  Golden  Chance"  may  be  said  to  describe  a  complete 
emotlonnl  curve,  starting  from  the  plane  of  repose  at  the  beginning  of  the  story,  rising 
with  ever-increasing  tension  to  the  climax,  and  then  falling  away  again  to  repose. 
This  theory  of  the  emotional  curve  may  be  justly  applied  to  every  true  art  form,  and  it 
is  of  special  value  in  the  photoplay  because  the  attention  of  the  spectator  is  carried  for- 
ward in  tiie  simplest  and  most  effective  way.  Our  normal  stream  of  consciousness 
describes  the  same  curve,  and  consequently  we  follow  such  a  drama  naturally  and 
without  effort. 

THE  RULE  OF  THREE. 

3.  In  "The  Golden  Chance,"  there  are  three  big  situational  moments,  accom- 
panied by  a  number  of  lesser  ones.  When  the  heroine  learns  that  the  hero  loves  her, 
when  her  burglar  husband  exposes  her  duplicity,  when  the  hero  saves  her — these  three 
moments  in  "The  Golden  Chance"  are  more  dramatic  than  any  others.  A  good  test 
of  five-reel  photoplay  material  is  the  rule  of  three.  If  a  photoplay  contains  three  such 
dramatic  crises,  at  different  stages  of  the  plot  action,  it  is  almost  sure  to  contain  five 
reels  of  screenable  action. 

4.  In  most  five-reel  photoplays,  either  drama  or  comedy  drama,  there  will  be 
found  three  situations  of  major  importance  and  a  number  of  lesser  ones.  This  is  a 
general  rule  and  is  by  no  means  true  in  every  case,  but  a  large  percentage  of  plnys  will 
illustrate  its  general  importance.  Ordinarily  the  three  greatest  crises  will  occur  in 
this  order:  one  rather  early  in  the  action,  one  of  greater  power  near  the  middle,  and 
the  third,  or  climactic  situation,  close  to  the  end.  The  three  crises  will  grow  in  power 
to  the  climax,  in  an  ever-ascending  line,  with  cumulative  effect.  In  between  the  major 
crises  there  will  be  others  of  less  importance,  some  merely  suggested.  In  constructing  a 
photoplay  of  the  usual  five-reel  length,  it  is  well  to  bear  in  mind  this  rule  of  three,  for 
if  a  story  has  three  crises  of  such  power,  it  will  usually  be  strong  enough  in  dramatic 
interest  to  hold  the  attention  of  the  audience.  Sometimes,  of  course,  the  three  situa- 
tions are  variations  and  developments  of  only  one  general  situation.  In  many  comedy 
dramas,  for  example,  the  situation  that  is  termed  "Mistaken  Jealousy"  has  supplied  the 
whole  plot  basis,  recurring  in  different  forms  throughout  the  play. 

VISUALIZATION,    ANALYSIS,    ELIMINATION    AND   REVISION. 

5.  While  the  plot  is  still  in  the  rough  outline  form,  the  author  should  clearly 
visualize  every  detail  of  the  action,  analyze  it  carefully  to  weigh  its  pictorial  value  u 

25 


well  as  its  dramatic  effect,  should  eliminate  any  incident  of  which  he  is  doubtful,  and 
should  then  revise  the  story  in  its  entirety  as  often  as  necessary  to  make  it  his  very 
best  work.  Only  the  writer  who  really  respects  his  art  will  ever  achieve  worth-ivhile 
success.  Let  everything  you  write  be  an  honest  piece  of  work,  one  that  will  command 
a  reader's  respect,  and  you  will  be  on  the  right  road  to  success.  Also,  you  will  find 
a  great  deal  more  personal  pleasure  in  doing  things  well,  for  there  is  no  greater  joy 
than  that  of  exercising  the  creative  faculties  to  the  best  of  one's  ability. 

THE  ELEMENT  OF  CONFLICT  IN  SITUATIONS. 

6.  In  almost  every  one  of  the  thirty-six  situations,  it  will  be  observed  that  there 
are  three  necessary  elements.  In  one  of  the  simplest  cases,  the  situation  known  as  "dar- 
ing enterprise,"  we  find  these  elements:  A  bold  leader,  an  object,  and  an  adversary. 
Between  the  bold  leader  and  the  adversary  there  goes  on  a  strong  conflict  for  the  attain- 
ment or  the  possession  of  the  object.  These  terms  are,  of  course,  general  rather  than 
specific,  but  it  will  be  readily  seen  that  the  situation  could  be  translated  into  specific 
terms.  The  bold  leader  might  be,  for  example,  a  miner  endeavoring  to  stake  a  claim ; 
his  adversary  might  use  every  means  to  prevent  the  leader  from  attaining  his  object. 
If  the  object  could  be  both  the  mine  and  the  girl  the  two  opponents  loved,  for  whose 
sake  they  sought  possession  of  the  mine,  there  would  exist  the  basis  of  a  strong  dra- 
matic plot. 

7.  Similarly,  in  every  situation,  we  shall  find  an  element  of  conflict.  Situations 
imply  conflict,  and  conflict  implies  situation.  The  two  terms  are  almost  inter-change- 
able, except  as  has  been  indicated  above;  the  situation  is  properly  the  most  tense  crisis 
in  the  conflict,  the  very  crest  of  the  conflict. 

8.  This  fact  again  illustrates  the  point  that  has  been  emphasized  in  the  Hand- 
book— that  all  drama  depends  upon  conflict,  that  without  a  strong  element  of  sus- 
tained conflict  there  can  be  no  plot. 

THE  DRAMATIC  TRIAD  IN   SITUATIONS. 

9.  It  will  also  be  observed  that  in  each  situation  the  conflict  is  three-cornered 
and  that  it  usually  involves  three  persons  or  three  distinct  factions.  There  is  the  bold 
leader  and  his  group  of  supporters ;  the  adversary  and  his  tools :  and  the  object  of  their 
desire.  Thus  each  situation  of  great  dramatic  power  can  be  considered  as  the  expres- 
sion of  a  dramatic  triad,  which  is  in  turn  the  manifestation  of  a  three-cornered  dra- 
matic conflict. 

HOW  SITUATIONS  SUGGEST  THEMES  AND  CHARACTERS. 

10.  In  considering  an  abstract  situation  such  as  that  of  "daring  enterprise,"  the 
creative  writer  who  has  accumulated  a  wealth  of  experience  and  who  has  observed 
many  sides  of  life  will  be  stimulated  to  placing  certain  characters  he  has  known  in 
the  situation.  Suppose,  for  example,  a  friend  whom  you  know  very  well  has  told  you 
of  some  thrilling  experience  he  has  had,  such  as  an  attempt  to  unearth  the  buried 
treasure  that  is  reported  to  lie  in  the  ruins  of  the  ancient  Guatemalan  capital,  and  that 
his  efforts  had  been  in  vain  because  of  the  superstitious  natives  who  were  controlled  by 
the  avaricious  priests.  In  such  a  case,  which  is  chosen  because  it  is  a  clear  expression 
of  the  particular  conflict  we  are  considering,  the  leader  of  the  expedition  would  be 
the  hero,  one  of  the  high  priests  his  adversary,  and  the  treasure  the  object.  On  such 
a  basis  an  interesting  melodrama  might  be  written,  and  by  skillful  repetitions  of  this 
situation,  in  combination  with  others,  a  photoplay  of  the  serial  type  could  be  developed. 
The  very  words  of  the  general  statement  of  a  situation  will  often  suggest  to  your 
mind  people  you  have  known,  themes  you  have  pondered,  experiences  you  have  had. 

11.  The  situation  of  "Daring  Enterprise"  might  suggest  a  hundred  different 
experiences  to  as  many  writers,  and  in  every  case  the  characters  created,  the  themes 
expressed,  and  the  plots  developed  would  be  quite  different.  If  your  treatment  is  more 
dramatic  and  more  interesting  than  the  next  writer's,  it  will,  of  course,  win  greater 
interest  from  the  editors. 

26 


12.  In  studying  the  various  situations,  it  is  excellent  practice  in  the  building 
of  plots  to  invent  as  many  different  stories  on  the  one  basis  as  possible.  In  this  way 
the  student  will  quickly  grasp  the  possibilities  of  combination  and  will  acquire  a  keen 
sense  of  the  dramatic. 

13.  In  discussing  themes,  we  have  indicated  that  each  situation  is  the  dramatic 
expression  of  a  general  principle,  or  truth,  or  theme.  The  definite  situations  will  in 
turn  suggest  many  phases  of  themes  to  the  writer,  which  will  again  be  determined  by 
his  expression,  his  inclinations,  and  his  tendencies.  The  great  truth  to  be  remembered 
in  approaching  a  study  of  the  thirty-six  situations  is  that  this  dramatic  material  is 
classified,  as  the  knowledge  in  an  encyclopedia  is  classified,  and  that  one  must  bring 
to  it  a  fresh  imagination  and  a  keen  sense  of  life.  All  of  the  dramatic  knowledge  to 
be  found  in  all  the  plays  written  from  the  time  of  Euripides  to  the  time  of  George 
Broadhurst  would  not  help  the  creative  writer  unless  he  learned  to  use  it  as  a  stimulus 
to  original  work. 

HOW  TO  USE  SITUATIONS  IN   PLOT  BUILDING. 

14.  Many  writers  find  it  simple  to  start  a  play  on  a  plane  of  interest,  using 
perhaps  one  inceptive  situation  of  real  power.  Often,  however,  the  imagination  lags 
and  refuses  to  respond  to  stimulus  beyond  a  certain  step  in  the  action.  Then  it  becomes 
necessary  to  search  for  plot  material  that  will  naturally  and  plausibly  progress  the 
action  to  its  inevitable  climax. 

15.  Not  long  ago  a  story  was  submitted  to  us  that  began  in  a  very  interesting 
manner,  with  a  group  of  human  and  real  characters,  and  a  strong  inceptive  situation 
that  promised  an  excellent  comedy  drama.  The  author  had  created  four  leading  char- 
acters: an  actress  of  about  thirty-five;  her  young  niece,  newly  arrived  from  boarding 
school ;  a  charming  man  of  forty ;  and  his  young  son.  The  son  thought  he  was  in 
love  with  the  actress,  who  considered  him  a  lovable  but  very  young  boy,  and  who  was 
secretly  in  love  with  his  fatlier.  The  father,  although  the  friend  of  the  actress,  con- 
sidered himself  an  old  man,  past  the  age  of  romance.  The  school-girl  arrived  to  visit 
her  aunt  and  promptly  fell  in  love  with  the  boy,  who  considered  her  a  mere  child. 
The  actress,  to  bring  the  boy  and  girl  together  and  also  to  awaken  the  man  she  loved, 
asked  the  older  man  to  escort  her  niece  to  the  theatre.  The  girl,  dressed  in  her  aunt's 
clothing,  made  a  great  hit  with  the  older  men  and  the  boy  became  jealous.  So  far 
the  author  had  done  very  good  work  and  had  developed  an  excellent  premise  for  a 
romantic  comedy  drama,  but  beyond  that  point  the  play  simply  would  not  progress. 
Its  action  was  only  sufficient  for  two  reels,  and  to  be  salable,  it  would  have  to  be  at 
least  five  reels  in  length.  This  state  of  affairs  is  very  common  in  the  work  of  young 
writers,  and  it  is  such  students  who  need  the  guidance  of  the  classified  situations. 

16.  By  a  careful  study  of  the  situations  which  might  be  used  in  the  develop- 
ment of  the  story,  especially  those  that  have  been  found  of  value  in  comedy  drama,  the 
author  would  have  been  led  into  many  new  lines  of  thought  and  guided  in  the  selection 
of  plot  material  to  complete  the  play. 

17.  When  the  point  is  reached  in  a  play  where  the  characters  do  not  act  of 
their  own  accord  and  spontaneously,  and  where  the  plot  ceases  to  move  and  falls  into 
a  conventional  groove,  the  writer  should  refer  to  the  classified  situations  and  should 
select  those  which  most  naturally  advance  his  plot.  This  is  not  always  an  easy  task, 
to  be  sure,  but  with  a  simple  classification  such  as  is  presented  in  the  subsequent  chap- 
ters, it  becomes  a  great  deal  more  simple  than  it  otherwise  would  be. 

18.  We  have  observed  that  the  test  of  a  situation  is  its  logical,  natural,  and 
seemingly  inevitable  relation  to  the  preceding  action  of  a  plot.  In  addition,  there  is 
the  test  of  Novelty,  which  leads  us  to  a  consideration  of  the  nature  of  novelty,  how  it 
is' achieved,  and  how  to  use  situations  in  a  novel  way. 


27 


CHAPTER  V 

Novelty. 

1.  iJuring  the  past  year  or  two  the  producers  have  been  driven,  by  a  shortage  of 
worth-while  screen  stories,  to  the  production  of  pictures  adapted  from  stage  and  book 
successes.  A  very  small  percentage  of  these  adaptations  have  proved  effective  and 
worth-while,  after  suffering  the  rigors  of  translation  to  the  new  and  totally  different 
medium,  but  the  large  majority  have  been  tedious,  dull  and  lifeless.  Almost  any 
writer  of  fiction  or  of  stage  drama  will  admit  that  in  short  stories  or  plays  there  is 
plenty  of  room  for  covering  up  and  concealing  the  weaknesses  of  the  story.  A  most 
implausible  climax  can  be  made  convincing  in  a  short  story  by  skillful  writing.  Sup- 
pose, for  example,  that  a  short  story  ended  with  the  rescue  of  a  girl  by  a  man,  after 
they  had  been  estranged.  The  author  could  very  cleverly  say  that  the  gods  of  chance 
whom  all  lovers  worship  directed  his  footsteps  to  the  very  place  where  his  sweetheart's 
life  was  in  danger  and  could  then  briskly  pass  on  to  the  thrilling  account  of  the  rescue. 
If  the  very  same  climax  occurred  on  the  screen,  the  presence  of  the  man  at  that 
particular  place  would  be  a  bald  coincidence  of  a  most  implausible  kind.  In  writing 
fiction,  cleverness  of  style,  the  ability  to  turn  a  phrase  delicately,  or  the  power  to 
concentrate  the  reader's  attention  on  the  most  interesting  moments,  will  make  almost 
any  plot  lifelike  and  real  for  the  time  being.  The  same  story,  translated  to  the  silent 
medium,  is  exposed  as  false,  artificial,  implausible  and  unreal.  Thus  many  of  the 
adaptations  shown  in  the  theatres  have  been  far  from  novel  and  have  given  the  spec- 
tators the  impression  of  sitting  through  an  oft-told  tale. 

2.  It  is  this  crying  need  for  new  ideas,  new  characters,  new  phases  of  life  treated 
in  a  new  way  by  new  authors,  that  is  now  heard  in  motion  picture  circles.  The  writers 
who  hope  to  succeed  as  photoplaywrights  must  more  than  ever  give  their  thought  to 
novelty  of  theme  and  treatment  and  to  plot  logic. 

3.  The  primary  aim  of  fiction,  and  especially  of  the  drama,  is  to  present  real 
characters  in  real  predicaments  in  such  a  way  as  to  make  the  audience  believe  in  their 
reality.  The  short  story,  the  novel,  the  stage  play,  all  give  the  author  technical  tricks 
of  advantage  in  furthering  this  illusion.  In  proportion,  the  photoplay  demands  greater 
logic,  more  realistic  characters  and  more  lifelike  situations  to  be  effective. 

4.  In  order  to  entertain  an  audience  it  is  necessary  to  present  a  story  in  a  new 
way.  Stories  must  be  novel,  original  and  authentic.  Just  what  novelty  consists  of 
has  not  been  made  very  clear  by  the  writers  who  have  endeavored  to  give  it  expression. 
It  may  be  helpful  to  point  out  what  it  is  not,  and  how  it  is  achieved,  in  relation  to  the 
thirty-six  situations. 

5.  Many  writers  have  thought,  erroneously  we  believe,  that  novelty  results  from 
a  clever  trick  by  which  the  plot  is  suddenly  shown  to  be  something  it  apparently  is  not. 
The  technique  of  the  "trick  ending,"  which  was  made  popular  in  this  country  by  O. 
Henry,  left  its  stamp  upon  the  national  fiction  and  upon  the  photoplay.  In  rare  cases 
the  artificial  twist  of  a  plot  at  the  last  moment  is  very  effective,  but  only  when  the 
artifice  is  developed  in  such  a  natural  way  that  it  appears  logical.  In  Lois  Weber's  suc- 
cess, "For  Husbands  Only,"  the  suspense  was  maintained  until  the  very  end,  when 
one  of  the  characters  spoke  a  surprising  and  unexpected  title.  It  came  as  a  shock  and 
an  agreeable  one  to  the  spectator,  but  a  careful  consideration  shows  that  it  was  a  per- 
fectly natural  ending  for  the  story,  that  the  idea  had  been  suggested  early  in  the  plot 


action.  In  that  case  the  "trick"  of  the  ending  was  effective  because  it  was  founded 
upon  a  sound,  natural  basis.  Too  often,  however,  the  writer  has  attempted  to  make 
his  play  novel,  to  redeem  its  mediocrity  at  the  last  moment,  by  an  artificial  and  external 
twist  of  treatment.  This  notion  of  novelty  has  led  to  the  dream  explanation  of 
implausible  melodramas,  which  could  not  have  been  concluded  by  any  more  natural 
means,  and  to  many  similar  tricks  of  technique.  Tricks  that  spring  from  mere  crafts- 
manship have  a  way  of  quickly  exhausting  themselves,  however,  and  it  was  not  long 
until  these  devices  were  discarded.  Then  again  rose  the  cry  for  something  new,  some- 
thing different,  and  novelty  is  still  the  paramount  demand  of  the  producers. 

6.  We  should  say,  first  of  all,  that  novelty  is  a  quality  that  is  inherent  in  the 
nature  of  the  plot  material,  the  characterization  and  the  author's  treatment.  It  can 
not  be  added  as  an  afterthought  to  an  otherwise  completed  play,  it  is  not  a  trick  to  be 
acquired.  It  springs  rather  from  a  different  viewpoint  on  the  part  of  the  original 
creative  writer,  and  only  in  so  far  as  his  viewpoint  is  different  will  lie  be  able  to 
produce  novel  plays.  No  two  people  think  alike,  look  alike  or  act  alike  under  the 
same  conditions;  there  is  a  vast  difference,  not  always  perceptible,  between  any  two 
personalities.  Recognizing  this  truth,  it  is  the  author's  duty  to  make  sure  that  he  is 
viewing  life  and  the  subjects  he  wishes  to  write  about  through  his  own  individual, 
distinctive  eyes.  With  such  an  individuality  it  will  be  impossible  for  him  to  be  merely 
imitative  or  to  express  ideas  in  the  way  others  have  expressed  them  before  him. 

7.  The  best  negation  of  the  often-quoted  remark,  that  there  is  nothing  new 
under  the  sun,  is  the  fact  that  this  very  maxim  can  be  expressed  in  dozens  of  new  ways. 

8.  Although  fundamentally  novelty  depends  upon  the  mind  of  the  creative 
author,  at  the  same  time  there  are  certain  obvious  errors  and  pitfalls  that  can  be 
pointed  out.  There  are  some  dramatic  situations  that  are  so  striking  when  one  fi'st 
considers  them  that  they  appear  fresh  and  novel.  The  idea  of  a  brother  and  sister 
falling  in  love  with  each  other,  neither  knowing  the  relationship  until  the  climax,  is 
an  example  in  point.  In  one  form  and  another,  this  situation  has  been  used  by  count- 
less writers  and  developed  in  myriad  forms.  When  one  first  conceives  the  idea,  the 
tense  dramatic  power  it  has  causes  one  to  believe  that  it  is  really  unusual.  But  it  can 
be  traced  in  some  of  the  earliest  of  the  Greek  tragedies,  and  it  has  been  used 
repeatedly  by  dramatists.  It  now  suffers  from  senile  exhaustion,  and  even  a  fresh 
point  of  view  brought  to  it  would  scarcely  lead  to  an  authentic  development.  Such 
pitfalls  that  everywhere  await  the  unwary  writer  may  be  indicated,  and  in  the  sub- 
sequent pages,  in  our  discussion  of  each  situation  and  its  subdivisions,  will  be  found 
cautions  and  comments  that  show  how  situations  have  been  employed  and  how  they 
may  be  employed  successfully  in  the  future. 

9.  It  is  suggested  that  the  student  in  studying  the  situations  endeavor  to  co- 
ordinate each  subdivision  with  some  definite  experience  or  observation  in  his  own  life. 
In  this  way  each  of  the  general  situations  will  be  translated  into  specific  and  familiar 
terms  and  the  student  will  be  considering  each  situation  from  his  own  viewpoint,  feel- 
ing it  through  his  own  personality.  If  it  is  possible,  a  number  of  phases  of  each  sub- 
division should  be  so  considered,  and  the  attempt  then  made  to  co-ordinate  them  into 
definite  plots.  This  study  is,  of  course,  in  the  nature  of  preliminary  preparation,  and 
should  be  used  as  a  stimulus  to  more  original  creative  effort.  To  that  degree  in  which 
one  is  able  to  bring  unusual  and  individual  experience  to  drama  will  the  resulting 
plays  be  novel. 

10.  We  can  not  say  that  by  combining  certain  situations  one  will  achieve  plot 
novelty,  but  we  can  say  that  by  combining  certain  individual  and  unusual  experiences 
that  fall  under  the  head  of  a  certain  situation  with  those  that  fall  under  another,  the 
result  will  be  an  individual  and  unusual  story. 

11.  In  the  same  way  the  dramatic  power — the  suspense  and  punch — in  given 
situations  may  be  tested.  We  suggest  certain  situations  that  have  been  exhausted  in 
certain  treatments;  they  no  longer  possess  suspense  and  punch,  therefore,  in  those 

29 


usages.  On  the  other  hand,  many  situations  have  not  been  used  dramatically  in  the 
photoplay  and  they  afford  a  great  opportunity  for  the  creative  writer.  Whether  in 
search  of  novelty  or  dramatic  power,  the  author  should  approach  the  situations  with  a 
receptive  mind,  awaiting  suggestions.  Then  there  will  be  no  danger  of  becoming 
artificial  or  mechanical  or  lifeless,  for  the  other  values  will  always  be  of  greater  impor- 
tance than  the  technical  combination  of  situations. 

12.  After  a  story  is  completely  plotted  and  developed,  perhaps  before  the  detailed 
synopsis  has  been  finished,  it  will  be  a  good  plan  to  analyze  it  very  carefully  in  rela- 
tion to  its  situations.  Then  by  referring  to  the  situation  itself  and  to  our  comment 
upon  its  use  in  the  photoplay,  one  can  judge  the  novelty,  the  dramatic  power,  and  the 
logic  of  one's  own  treatment.  This  process  of  analysis  is,  after  all,  the  most  important 
part  of  creative  writing.  Very  often  a  great  weakness  will  be  found  in  a  story,  a  very 
trite  situation  discovered,  but  in  the  very  analysis  of  the  plot  new  ideas  and  new 
methods  of  treating  the  basic  theme  will  suggest  themselves  and  a  new  story  will  result. 

13.  It  can  not  be  too  emphatically  stated  that  photoplays  are  built  step  by  step, 
scene  by  scene.  The  failure  to  recognize  the  architecture  of  the  photoplay  results  in 
many  plot  weaknesses.  And  in  this  connection  a  correlative  thought  is  that  the  mind 
of  the  creative  writer  should  always  be  kept  open,  fluid,  receptive  until  a  story  is  in 
its  final  form  and  can  not  be  improved  upon.  Too  often  writers  are  inclined  to 
consider  a  story  finished  when  it  is  only  begun.  By  keeping  the  mind  alert  and  recep- 
tive, there  will  be  new  suggestions  everjrwhere  that  will  be  of  value  in  the  develop- 
ment of  the  story. 


SO 


CHAPTER  VI 

A  Word  of  Warning. 

1.  The  trained  photoplayuright  is  occupied  much  longer  in  selecting  a  theme,  in 
gathtring  material,  in  creating  characters,  and  in  building  plot,  than  in  actual  writing. 
In  other  words,  the  creation  of  photoplays  is  a  task  of  the  imagination  rather  than  of 
the  typewriter.  Good  drama  can  not  be  dashed  off  like  a  letter,  or  even  like  a  news- 
paper story.  It  must  be  built,  step  by  step,  brick  by  brick,  scene  by  scene,  until  the 
completed  dramatic  structure  possesses  the  finish,  the  solidity,  and  the  beauty  of  a  work 
of  architecture. 

DRAMATIC  AND   UNDRAMATIC. 

2.  The  dramatic  way  of  telling  a  story  is  that  which  makes  the  most  direct  and 
poignant  appeal  to  the  emotions  of  the  audience.  By  the  very  nature  of  drama^  a  dra- 
matic story  is  compressed,  condensed  and  concentrated  more  than  any  other  kind  of 
fiction.  Melodrama  was  once  graphically  described  as  "hitting  the  high  spots,"  and  in 
this  sense  it  bears  almost  the  same  relation  to  drama  that  drama  bears  to  narrative. 
Where  the  narrative  takes  the  leisurely,  rambling  course,  careless  of  the  amount  of 
time  spent  on  the  wayside,  if  the  wayside  happens  to  interest  the  author,  drama  starts 
out  to  reach  a  definite  goal  as  directly  and  with  as  much  emphasis  on  the  "high  spots" 
or  crises  as  possible.  In  creating  drama,  the  author  must  eliminate  everything  that  is 
non-essential  to  the  effect  he  is  striving  for,  but  the  process  of  elimination  must  not  be 
carried  so  far  that  the  action  is  made  abrupt  and  spasmodic. 

3.  In  general  the  action  of  a  drama  should  start  in  a  moderate  tempo,  from  a 
plane  of  repose,  and  should  ascend  with  growing  speed  and  power  to  its  climax,  after 
which  it  should  fall  away  gently  and  calmly  to  the  plane  of  repose. 

4.  In  melodrama  the  tempo  is  faster,  and  often  the  first  big  situation  comes  soon 
after  the  action  starts,  and  is  quickly  followed  by  more  tense  and  dramatic  situations 
until  the  action  culminates  in  the  climax  of  the  play.  Often,  in  writing  melodrama, 
the  author  starts  out  well,  with  a  good  inceptive  situation,  but  fails  to  carry  it  onward 
to  crises  of  greater  intensity.  In  a  lesser  degree,  the  same  is  true  of  drama.  The  light 
situation  introducing  the  conflict  of  characters  is  striking  and  dramatic,  but  the  author 
fails  to  carry  the  action  forward  until  it  reaches  a  real  climax.  By  a  careful  study  of 
the  situations  listed  in  the  subsequent  pages  and  by  a  close  analysis  of  one's  plot,  one 
will  have  less  difficulty  in  building  a  strong  and  logical  sequence  of  situations  in  an 
ever-ascending  line  to  the  climax. 

5.  We  have  already  observed  that  drama  is  objective,  and  that  the  personality 
of  the  author  can  not  be  intruded.  This  fact  again  illustrates  the  necessity  of  elim- 
inating non-essential  parts  of  a  story.  Too  great  attention  can  not  be  given  to  details, 
especially  in  writing  for  the  screen,  for  every  minute  action  possesses  a  definite  value 
either  of  characterization  or  of  plot. 

6.  Further,  the  photoplay  should  possess  greater  unity  of  time,  place  and  action 
than  any  other  work  of  fiction.  A  unified  storj'  is  more  likely  to  be  dramatic  than  a 
rambling  one,  and  the  failure  of  most  novels  adapted  to  the  screen  lies  in  their  lack 
of  unity.  They  were  not  dramatized — that  is,  unified,  intensified,  concentrated.  They 
consequently  failed  to  make  the  direct  emotional  appeal  that  is  necessary  to  the  exist- 
ence of  drama. 

31 


7.  On  the  other  hand,  many  stage  plays  have  also  failed  when  adapted  to  the 
screen,  not  because  they  were  undramatic  originally,  but  because  the  usual  stage  play 
does  not  contain  enough  screenable  action  to  occupy  five  reels  of  film  and  the  adapta- 
tions therefore  became  padded  with  non-essentials,  drawn-out,  narrative  in  manner, 
and  undramatic.  The  screen  needs  its  own  literature — a  dramatic  literature  written 
for  the  screen  by  writers  who  appreciate  and  understand  their  new  medium  of 
expression. 

8.  Unity  of  action  demands  that  all  the  incidents  of  a  photoplay  shall  converge 
upon  the  development  of  a  single  plot,  a  central  theme.  This  kind  of  unity  is  more 
essential  than  that  of  time  and  place,  but  in  well-constructed  plays  they  are  usually 
concomitant  with  it.  Unity  of  action  is  a  quality  of  the  short-story  and  the  drama,  but 
not  necessarily  of  the  novel  or  the  tale.  This,  then,  is  another  distinction  between 
drama  and  narrative.  While  narrative  is  quite  often  dramatic  and  even  melodramatic, 
drama  should  never  be  narrative  in  manner. 

9.  Many  produced  photoplays  are  criticized  by  the  reviewers  because  they  are 
slow  in  getting  started,  because  the  first  two  reels  are  of  no  dramatic  value,  or  because 
the  interest  lags  after  the  first  two  reels.  A  careful  study  of  the  trade  journals,  in 
which  the  current  reviews  are  published,  indicates  that  these  are  the  chief  weaknesses 
of  otherwise  sound  photoplays.  A  careful  study  of  the  dramatic  situations  will  show 
that  such  weaknesses  are  due  to  a  lack  of  knowledge  on  the  part  of  the  authors  as  to 
what  constitutes  drama.  A  sound  knowledge  of  the  thirty-six  fundamental  situations 
will  safeguard  the  author  against  such  weaknesses  and  will  make  it  possible  for  him 
to  judge  the  dramatic  value  of  his  plays. 

THE  TEST  OF  SITUATIONS. 

10.  If  a  situation  is  the  best  possible  one  that  can  be  found  to  use  in  a  given 
story,  expressive  of  your  theme  and  of  the  relations  of  your  characters,  its  use  is  justi- 
fiable. But  always  the  situation  should  spring  from  the  theme  and  the  characteriza- 
tion, at  least  so  far  as  the  finished  product  is  concerned,  for  only  in  that  way  can  the 
spectator  be  made  to  believe  in  the  inevitability  of  your  plot  action.  If,  on  the  other 
hand,  you  allow  a  certain  situation  to  enter  into  your  story  without  regard  to  the 
theme  and  characterization,  the  finished  play  will  be  artificial,  lifeless  and  mechanical. 
The  test  of  a  photoplay  situation  is  its  harmony  and  suitability  to  the  theme  you  wish 
to  emphasize  and  to  the  characters  you  have  made  live. 

11.  After  having  studied  the  examples  of  situations  that  have  been  used  in 
photoplays,  you  will  also  recognize  that  a  second  test  is  that  of  novelty.  If  your  use  of 
a  situation  is  precisely  like  that  of  someone  else,  it  will  naturally  not  make  a  distinctive 
appeal  to  an  editor.  In  this  connection,  it  is  well  to  remember  that  the  novelty  of  a 
story  often  depends  upon  the  new  point  of  view  the  author  takes  towards  his  theme 
and  the  freshness  and  originality  of  his  characterization. 

12.  We  shall  find  in  the  following  pages  a  number  of  examples  of  old  plots 
vitalized  and  made  human  by  the  insight  into  theme  and  characterization.  No  matter 
how  often  a  situation  has  been  used  before,  if  you  are  positive  that  your  theme  is  big 
enough  and  your  characterization  unusual  enough  to  carry  it  to  success,  do  not  hesi- 
tate to  employ  it,  for  it  is  treatment  rather  than  the  situation  itself  that  distinguishes 
your  finished  product. 

SUMMARY 

13.  There  are  thirty-six  fundamental  dramatic  situations,  which  form  the  back- 
bone of  all  drama,  and  a  knowledge  of  which  is  essential  to  a  photoplaywright's  suc- 
cess. Other  factors  of  importance  are  the  vitality  of  theme,  the  strength  and  reality 
of  characterization,  the  logic  and  novelty  of  plot,  and  the  dramatic  effect  of  the 
finished  play. 

14.  Let  us  now  proceed  to  an  investigation  of  the  thirty-six  situations  and  their 
use  in  photoplays. 

32 


ANOTHER  CAUTION. 

15.  Once  again  we  would  insist  that  the  reader  drop  any  idea  of  finding  herein 
ready-made  plots,  or  of  attempting  the  artificial  and  mechanical  combinations  of  situa- 
tions that  might  form  plots.  Such  methods  will  always  prove  ineflfective  and  their 
products  will  be  dull  and  uninteresting.  Seek,  instead,  in  the  following  pages,  sug- 
gestions of  value  in  your  future  work,  study  the  pitfalls  we  point  out,  and  use  the  list 
of  situations  and  e.xamples  as  a  reference  with  which  to  test  the  strength  or  weakness 
of  your  own  ideas. 


33 


PART  TWO 


CHAPTER  VII 

FIRST  SITUATION— SUPPUCATION. 

In  the  first  situation,  the  technical  elements  necessary  are  a  Persecutor,  a  Sup- 
pliant, and  a  Power  in  authority,  whose  decision  is  uncertain.  Any  form  of  Suppli- 
cation involving  such  elements  may  be  considered  as  a  subdivision  of  the  situation. 
Some  of  its  most  interesting  sub-divisions  are: 

A(l) — Fugitives  Imploring  the  Powerful  for  Help  Against  Their 
Enemies. 

This  sub-division  of  the  first  situation  has  been  used  in  many  forms  in  the  photo- 
play, especially  as  the  inceptive  situation  of  a  play.  It  still  offers  splendid  oppor- 
tunities for  development  to  the  photoplaywright  who  can  devise  new  variations.  In 
the  photoplay,  its  chief  use  has  been  in  the  favorite  old  romance  of  the  maiden  in 
distress,  as  the  Suppliant;  a  guardian  or  parent  as  the  Persecutor,  and  a  brave  hero 
who  becomes  the  Power  in  authority.  It  bears  a  close  relation  to  Situation  II, 
"Deliverance,"  which   is  its  usual   development. 

(2) — Assistance  Implored  for  the  Performance  of  a  Pious  Duty  Which 
has  Been  Forbidden. 

Obviously  this  sub-division  was  of  more  value  in  classic  drama  than  in  modern 
photoplays,  for  pious  duties  do  not  occupy  the  same  position  in  the  daily  life  of  today 
that  they  did  in  former  times.  However,  it  offers  food  for  thought,  and  it  has  been 
used  partially  in  one  or  two  Indian  photoplays  of  the  past,  in  which  a  character 
appeals  to  a  power  in  authority  for  permission  to  bury  his  dead.  Its  treatment  must 
be  subtle  in  the  photoplay,  lest  it  produce  an  undesirable  or  morbid  effect. 

(3) — Appeals  for  a  Refuge  in  Which  to  Die. 

Again  we  have  a  sub-division  requiring  subtle  treatment  lest  it  appear  morbid. 
Its  chief  use  has  been  in  the  case  of  melodrama,  in  which  a  character — usually  the 
villain — seeks  a  refuge  from  his  pursuers. 

B  (1) — Hospitality  Besought  by  the  Shipwrecked. 

(2)— Charity  Entreated  by  Those  Cast  Off  by  Their  Own  People,  Whom 
They  Have  Disgraced. 

(3) — Expiation:     The  Seeking  of  Pardon,  Healing  or  Deliverance. 

The  first  of  these  three  sub-divisions  has  its  value  in  sea  stories,  and  has  been 
used  in  a  number  of  such  photoplays.  The  second  bears  a  close  relation  to  Situation 
XXVII,  "The  Discovery  of  the  Dishonor  of  a  Loved  One,"  and  has  often  been  em- 
ployed in  combination  with  it.  The  third  has  been  used  chiefly  in  stories  involving 
deathbed  confessions,  in  which  the  villain  appeals  to  those  he  has  persecuted  for 
pardon.  Although  that  use  has  been  sadly  overdone,  and  is  now  exhausted,  the  same 
idea  is  worthy  of  new  treatment. 

C  (I )— Supplication  of  the  Powerful  for  Those  Dear  to  the  Supplicant. 

(2) — Supplication  to  a  Relative  in  Behalf  of  Another  Relative. 

(3) — Supplication  to  a  Loved  One's  Lover,  in  the  Loved  One's  Behalf. 

These  three  subdivisions  have  been  used  effectively  in  many  photoplays,  as  we 
shall  see  when  we  analyze  our  examples.     There  is  here  a  danger  of  repetition,  and 

37 


one  should  exercise  especial  care  to  make  sure  that  one's  treatment  of  these  forms  of 
Supplication  is  distinctive  and  novel.  By  a  careful  study  of  the  examples  given  else- 
where, one  will  be  able  to  avoid  the  timevvorn  and  familiar  usage  and  to  devise  novel 
and   interesting  variations. 

On  the  whole,  the  First  Situation  has  been  used  sparingly  by  modern  dramatists 
and  photoplaywrights  and  offers  a  good  opportunity  for  future  use.  The  essential 
trinity  is  capable  of  infinite  variety,  and  with  the  original  characterization  of  the 
Suppliant,  Persecutor  and  Power,  new  variations  of  the  subdivisions  here  given  will 
suggest  themselves. 

Examples  of  photoplay  value,  of  each  of  the  dramatic  Situations,  will  be  found, 
arranged  alphabetically,  with  suggestive  comment,  in  subsequent  chapters.  The 
reader  is  advised  to  grasp  thoroughly  the  information  contained  in  this  section  of  the 
book  before  proceeding  to  the  examples,  which  will  then  be  more  valuable. 

SECOND  SITUATION— DEUVERANCE. 

This  situation  is,  in  a  sense,  the  converse  of  the  first,  and  the  elements  are  an 
Unfortunate,  a  Threatener  and  a  Rescuer.  In  the  modern  photoplay  it  has  been  used 
chiefly  as  the  development  of  Situation  X,  "Abduction,"  and  its  use  in  that  way  has 
been  very  much  overdone.  On  the  other  hand,  in  almost  every  other  form,  it  has 
been  untouched,  and  offers  alluring  possibilities  to  the  creative  imagination.  This 
situation  is  really  the  basis  of  chivalry,  and  when  properly  developed  makes  a  deep 
appeal  to  emotional  sympathy. 

A — Appearance  of  a  Rescuer  to  the  Condemned. 

In  certain  sensational  melodramas,  in  which  the  hero  was  about  to  be  executed 
on  circumstantial  evidence,  this  subdivision  has  formed  the  basis  of  the  climax.  Except 
in  that  sensational  usage,  it  has  not  been  developed  in  an  interesting  or  appealing  way. 

(1) — Rescue  by  Friends,  or  by  Strangers  Grateful  for  Kindness  or 
Hospitality. 

The  first  of  these  subdvisions  is  interesting  because  it  brings  into  the  drama  the 
heroic  character  of  the  Child,  and  the  first  manifestation  of  the  theme — -"A  little 
child  shall  lead  them" — which  is  still  poignant  and  appealing  when  used  in  a  vital 
and  distinctive  way. 

The  second  is  capable  of  varied  development,  depending  upon  the  characters  of 
the  Unfortunate,  and  the  Rescuers. 

Like  the  first,  the  second  situation  of  the  thirty-six  has  been  ignored  in  its  larger 
and  subtler  aspects,  and  offers  many  interesting  suggestions  to  the  alert  and  imagina- 
tive writer. 

In  studying  this  situation,  try  to  conceive  as  many  variations  and  subdivisions 
of  deliverance  as  possible,  creating  distinctive  characters  and  visualizing  the  action  of 
the  scenes  in  which  the  situation  would  be  presented  on  the  screen.  Follow  the  same 
practice  throughout  your  study,  and  your  power  of  inventiveness  and  keenness  of 
visualization  will  be  increased  tenfold. 

TfflRD  SITUATION— CRIME  PURSUED  BY  VENGEANCE. 

In  this  situation  we  find  the  basis  of  a  great  many  photoplays,  for  the  theme  of 
vengeance  has  been  a  vital  element  in  the  literature  of  all  ages.  In  certain  forms  it 
may  still  be  used  with  good  effect,  usually  in  combination  with  Situations  XXIX  and 
XXXIII,  "An  Enemy  Loved"  and  "Erroneous  Judgment."  In  general,  however, 
the  theme  of  vengeance  makes  less  appeal  to  modern  audiences  than  it  obviously  did 
in  the  past,  and  it  has  been  used  so  frequently  that  especial  care  is  required  to  make  it 
effective.  Particular  attention  is  necessary  in  characterizing  the  human  elements  of 
the  situation,  the  Avenger  and  the  Criminal,  for  almost  unconsciously  one  will  allow 
one's  imagination  to  follow  the  classic  paths  of  imitation. 

38 


A  ( I ) — The  Avenging  of  a  Slain  Parent  or  Ancestor. 

(2) — The  Avenging  of  a  Slain  Child  or  Desceudant. 

(3) — Vengeance  for  a  Child  Dishonored. 

(4) — The  Avenging  of  a  Slain  Wife  or  Husband. 

(5) — Vengeance  for  the  Dishonor,  or  Attempted  Dishonoring  of  a  Wife. 

(6) — Vengeance  for  a  Mistress  Slain. 

(7) — Vengeance  for  a  Slain  or  Injured  Friend. 

(8) — Vengeance  for  a  Sister  Seduced 

In  considering  the  foregoing  subdivisions  of  vengeance,  try  to  recall  all  of  the 
stage  plays,  short  stories  and  photoplays  you  have  seen  or  read  in  which  this  element 
occurs.  All  of  these  phases  of  vengeance  have  been  used  repeatedly  by  photoplay- 
wrights  and  fictionists,  many  times  effectively  and  often  in  mere  commonplace  imita- 
tion. Vengeance  is  by  no  means  an  exhausted  situation,  and  when  it  is  a  manifestation 
of  Compensation  and  Recoil,  it  often  produces  a  most  impressive  dramatic  effect. 
On  the  other  hand,  careful  analysis  and  skillful  ciiaracterization  arc  necessary  to  make 
real  and  vital  what  has  been  done  so  often  before. 

Still  other  subdivisions,  rather  less  melodramatic  in  tone,  are: 

B  (1 ) — Vengeance  for  Intentional  Injury  or  Plundering.  .; 

(2) — Vengeance  for  Having  Been  Despoiled  During  Absence. 

(3) — Revenge  for  an  Attempted  Slaying. 

(4) — Revenge  for  a  False  Accusation. 

(5) — Vengeance  for  Violation. 

(6) — Vengeance  for  Having  Been  Robbed  of  One's  Omti. 

(7) — Revenge  Upon  a  Whole  Sex  for  a  Deception  by  One. 

C — Professional  Pursuit  of  Criminals. 

The  last-named  subdivision  is  closely  related  to  Situation  V,  "Pursuit,"  in  one 
of  its  subdivisions. 

It  is  well  to  observe  that  B  (7),  in  its  modern  variations,  often  forms  the  basis 
of  comedy  dramas.  Various  photoplays,  comedies  and  comedy  dramas,  have  incor- 
porated this  element,  especially  when  either  the  hero  was  a  woman-hater  or  the 
heroine  a  man-hater  because  of  some  disappointment  in  love. 

The  other  phases  of  Vengeance  have  been  chiefly  used  in  Western  photoplays, 
in  those  of  Alaska  or  other  frontiers,  and  in  photoplays  dealing  with  foreigners — 
Italians,  Japanese,  Russians,  Mexicans,  etc.,  in  all  which  cases  the  relative  primitive- 
ness  of  the  characters  lends  a  note  of  reality  to  the  theme. 

D— Pardon. 

If  any  subdivision  of  a  situation  deserves  mention  by  itself,  on  the  score  of  not 
being  co\'ered  by  the  general  grouping,  it  is  that  of  Pardon.  Polti,  in  his  cynical  way, 
chooses  to  believe  that  Pardon  is  simply  a  reflective  form  of  Vengeance,  in  which 
the  pardoner  heaps  ashes  upon  him  who  craves  pardon.  But  to  realize  its  full  and 
significant  value  in  modern  drama,  one  need  only  remember  the  spirit  of  Christianity 
and  the  glowing  words  of  Shakespeare,  "Pardon  is  the  word  to  all!"  The  words 
of  Jesus,  "Father,  forgive  them,  for  they  know  not  what  they  do,"  possess  a  definite 
dramatic  quality,  especially  as  they  follow  his  "Self-Sacrifice  for  an  Ideal." 

FOURTH  SITUATION— VENGEANCE  TAKEN  FOR  KEVDRED 
UPON  KINDRED. 

This  situation  is  really  a  combination  of  the  preceding,  "Crime  Pursued  by 
Vengeance,"  with  Situation  XXVII,  "Discovery  of  the  Dishonor  of  Kir  Ired,"  and 
it  possesses  as  many  variations  as  there  are  ties  of  relationship  between  avenger  and 
criminal.  The  number  of  possible  variations  may  be  obtained  by  multiplying  those 
of  Situation  III  by  those  of  XXVII. 

39 


In  addition,  many  varying  circumstances  may  determine  the  action  of  the  Avenger. 
It  may  be  a  simple  desire  on  his  own  part ;  the  dying  wish  of  the  victim ;  an  imprudent 
promise  to  the  victim ;  the  duty  of  avenging  a  crime,  even  though  the  criminal  is  a 
relative,  as  in  the  case  of  an  official  forced  to  prosecute  a  relative;  ignorance  of  the 
kinship  between  the  avenger  and  the  criminal  (which  is  related  to  Situation  XIX, 
"Slaying  of  a  Kinsman  Unrecognized"),  the  avenger  striking  without  having  recog- 
nized the  criminal ;  the  discovery  that  the  supposedly  guilty  kinsman  is  really  innocent. 
Whatever  circumstances  give  rise  to  the  situation  it  will  be  seen  from  these  brief 
suggestions  that  it  can  be  used  in  a  multitude  of  ways,  many  of  them  untouched  by  the 
photoplaywright  of  today. 

A  (1) — A  Father's  Death  Avenged  Upon  a  Mother. 

(2) — A  Mother  Avenged  Upon  a  Father. 

B — A  Brother's  Death  Avenged  Upon  a  Son. 

C — A  Father's  Death  Avenged  Upon  a  Husband. 

D — A  Husband's  Death  Avenged  Upon  a  Father. 

These  subdivisions  are  each  in  a  different  class,  but  by  carrying  the  relationships  of 
the  Avenger  and  Criminal  into  every  possible  degree,  new  variations  will  be  apparent. 

Like  the  preceding  situation,  this  one  should  be  used  with  a  great  deal  of  care  and 
in  combination  with  those  which  will  relieve  the  horror  of  its  effect.  As  the  examples 
will  indicate,  this  has  sometimes  been  well  done,  but  it  is  a  difficult  task.  The  situ- 
ation should  therefore  only  be  used  when  the  nature  of  your  theme  and  character- 
ization demands  its  use,  and  when  nothing  else  will  suffice.  If  it  is  inevitable  in  your 
photoplay,  by  all  means  use  it,  but  first  of  all  make  sure  that  it  is  really  inevitable  and 
not  the  product  of  idle  fancy  or  chance. 

FIFTH  SITUATION— PURSUIT. 

This  situation  may  be  considered  as  a  passive  form  of  Situations  III  and  IV, 
but  in  this  case  our  interest  is  chiefly  held  by  the  Fugitive,  rather  than  by  the  Pur- 
suers. Whatever  our  hero  may  have  been  or  may  be,  we  are  for  the  time  being  held 
by  the  stimulating  interest  of  the  chase.  In  dramas  using  this  situation,  the  central 
character  is  placed  in  a  sympathetic  predicament  whatever  his  previous  actions  may 
have  been,  for  there  is  a  deep,  human  urge  to  take  the  side  of  the  man  who  is  running 
away  from  danger.  The  purely  physical  excitement  of  the  chase  is  sufficient  to  win 
our  complete  emotional  sympathy,  at  least  for  the  duration  of  the  dramatic  action. 

For  this  reason  Situation  V  possesses  a  direct  and  simple  dramatic  value,  which 
probably  accounts  for  its  frequent  use  in  melodramatic  thrillers  and  in  slapstick 
comedies.  The  public  that  appreciates  this  type  of  photoplay  requires  such  a  direct 
appeal.  The  climax  of  most  farcical  comedies  is  the  chase,  which  has  been  used  so 
frequently  and  in  so  many  forms  that  it  sometimes  seems  as  though  it  will  never  again 
be  effective.  In  photoplays  of  the  "crook"  type,  in  which  the  somehow  heroic  criminal 
flees  from  the  punishment  that  threatens  him;  in  plays  in  which  the  innocent  prisoner 
escapes  from  jail  and  flees  his  pursuers  who  would  re-incarcerate  him ;  in  slapstick  and 
burlesque  in  which  the  blundering  clown  flees  from  those  who  are  upset  (often  literally 
upset)  by  his  actions;  our  interest  is  held  in  this  simple,  direct  way. 

Because  of  its  direct  and  simple  value  this  situation  has  been  frequently  em- 
ployed, and  therefore  the  writer  must  exercise  a  great  deal  of  care  in  his  development 
of  it.  But  to  the  discerning  photopla>'wright,  who  can  combine  it  in  new  ways  with 
other  situations  and  who  can  give  the  elemental  characters  new  variations,  there  is 
still  a  great  deal  of  dramatic  opportunity  in  Situation  V. 

A — Fugitives  from  Justice  Pursued  for  Brigandage,  Political  Ofifensea, 
Etc. 

This,  with  the  subdivision  of  Situation  III — "Professional  Pursuit  of  Criminals" 
— forms  the  basis  of  many  detective,  crook,  mystery  and  serial  photoplays.  A  careful 
study  of  such  types  of  photoplays  will  indicate  the  variety  of  ways  in  which  it  has  been 
used  and  the  many  variations  still  possible. 

40 


B — Pursued  For  a  Fault  of  Love. 

This  subdivision  has  its  obvious  dramatic  value,  but  its  use  in  the  photoplay  has 
been  largely  confined  to  comedies.  A  large  percentage  of  screen  comedies  have  in  one 
way  or  another  involved  this  element. 

C — A  Hero  Struggling  Against  a  Power. 

D — A  Villain  Pursued  by  a  Relentless  Avenger.  (In  which  the  sympathy 
is  at  least  partially  with  the  villain,  though  we  despise  him  for  his  weakness,  because  of 
the  cold,  inhuman  relentlessness  of  the  pursuer.) 

SIXTH  SITUATION— DISASTER. 

This  situation  forms  the  basis  of  many  Bible  stories,  of  a  great  deal  of  classical 
literature — especially  the  Greek  epics  and  dramas,  and  of  most  of  the  pages  of  history. 
Its  dramatic  significance  is  especially  valuable  because  in  its  use  the  powerful  are 
overthrown  and  the  weak  exalted.  Whether  the  spectator  be  powerful  or  weak,  the 
situation  will  have  a  tremendous  psychological  effect,  for  it  brings  home  the  frailty  of 
human  life  and  causes  one  to  ponder  the  mysteries  of  the  ways  of  unseen  Powers. 

A  (1)— Defeat  Suffered. 

(2) — A  Fatherland  Destroyed. 

(3)— The  FaU  of  Humanity. 

(4) — A  Natural  Catastrophe. 

These  subdivisions  have  been  employed  in  such  spectacular  historic  photoplays  as 
"INTOLERANCE,"  "THE  BIRTH  OF  A  NATION,"  and  "CABIRIA,"  and 
their  photoplay  value  is  almost  entirely  confined  to  productions  of  this  class. 

B — A  Monarch  Overthrown. 

This,  too,  is  historically  significant,  and  its  use  in  photoplays  is  largely  confined 
to  the  stories  of  mythical  kingdoms.  South  or  Central  American  Republics,  etc.  The 
word  "monarch"  is  used  in  its  broadest  sense,  and  the  overthrow  of  any  supremely 
powerful  individual  or  even  class,  may  be  considered  as  a  part  of  the  subdivision. 

C  ( 1 )  — Ingratitude  Suffered. 

(2) — The  Suffering  of  Unjust  Punishment  or  Enmity. 

(3) — An  Outrage  Suffered. 

The  dramatic  value  of  these  subdivisions  will  be  readily  apparent,  for  there  is 
perhaps  no  more  poignant  suffering  than  those  indicated  here.  To  create  characters 
with  whom  the  spectator  will  suffer  and  to  use  situations  that  call  forth  such  sympathy 
is  to  succeed  in  a  large  measure  in  the  writing  of  photoplays. 

D  (1) — Abandonment  by  a  Lover  or  a  Husband. 

(2) — Children  Lost  by  Their  Parents. 

These  two  subdivisions  have  been  well  nigh  exhausted  in  the  photoplay,  as  well 
as  in  stage  drama,  and  although  they  are  sometimes  of  logical  value  in  a  drama,  they 
should  be  used  with  care  and  thought.  They  cannot  be  relied  upon  to  make  a  deep 
appeal  and  should  always  be  subordinated  to  more  vital  and  interesting  situations. 

In  general  the  Sixth  Situation  offers  a  wide  opportunity  for  the  photoplaywright 
and  many  of  the  dramas  of  the  future  will  incorporate  tliis  element.  The  situation  is 
the  expression  of  a  deep  and  human  theme,  one  that  never  fails  to  hold  the  public's 
interest  if  it  is  treated  skillfully.  On  the  other  hand,  many  writers  have  signally  failed 
in  handling  this  situation  because  of  the  temptation  to  rely  upon  chance  in  its  develop- 
ment. The  subdivision  A  (4),  for  example,  which  has  been  listed  by  at  least  one 
writer  as  a  separate  situation  under  the  title  "Miracle,"  is  a  pure  act  of  Providence 
and  has  little  dramatic  value.  In  the  Greek  drama  it  was  used  with  exceeding  power 
because  a  sense  of  the  inevitability  of  the  Olympian  interference  into  human  affairs  was 
easy  to  create.  Modern  audiences  are  not  so  naive  in  their  theologies,  and  dramas 
involving  such  chance  occurrences  are  nearly  always  artificial  and  ineffective. 

41 


CHAPTER  VIII     - 

SEVENTH  SITUATION— FAIXING  PREY  TO  CRUELTY  OR 

MISFORTUNE. 

This  situation,  like  the  preceding,  appeals  to  the  sympathies  of  an  audience,  for  in 
this  case  the  central  character  is  placed  in  a  seemingly  hopeless  Predicament.  For  this 
reason  it  is  also  excellent  dramatic  material,  but  considerable  care  must  be  exercised 
in  selecting  forms  of  cruelty  and  misfortune  that  will  convince  an  audience  of  their 
reality.  Exaggeration  in  this  case  will  reduce  the  best-intended  play  to  burlesque, 
and  on  the  other  hand  the  cruelty  or  misfortune  must  be  serious  enough  to  be  of  real 
emotional  interest. 

A — The  Innocent  Made  the  Victim  of  Ambitious  Intrigue. 

B — The  Innocent  Despoiled  by  Those  Who  Should  Protect. 

Both  of  these  subdivisions  recall  the  variations  of  the  Cinderella  theme,  in  which 
the  heroine  is  a  prey  to  the  cruelty  of  a  parent  or  guardian.  So  many  variations  of 
this  theme  have  been  developed  that  its  popularity  would  seem  to  have  waned,  but  since 
it  again  makes  a  clear  and  direct  appeal  to  our  sympathies,  if  it  is  treated  with  skill 
and  some  degree  of  noveltj',  it  will  be  of  genuine  dramatic  interest. 

C  (1) — The  Powerful  Dispossessed  and  Wretched. 

(2) — ^A  Favorite  or  an  Intimate  Finds  Himself  Forgotten. 

D— The  Unfortunate  Robbed  of  Their  Only  Hope. 

Innumerable  other  subdivisions  remain.  Much  of  the  history  of  the  world  is  that 
of  persecution  and  suffering,  and  in  the  degree  that  we  can  awaken  the  sympathy  of  an 
audience  by  a  presentation  of  such  suffering  it  is  of  dramatic  value.  Scores  of  photo- 
plays have  been  built  upon  some  phase  of  this  situation,  but  its  scope  is  so  great  that  it 
remains  virtually  untouched,  offering  a  virgin  field  in  which  the  creative  fancy  may 
gather  material  for  its  dreams. 

EIGHTH  SITUATION — REVOLT, 

The  Eighth  Situation,  in  its  more  obvious  and  melodramatic  phases,  has  been 
employed  very  frequently  as  the  basis  of  melodramatic  photoplays,  usually  of  the  serial 
type.  But  in  the  subtler  and  more  interesting  subdivisions  it  has  been  almost  com- 
pletely ignored.  Perhaps  this  situation  offers  a  better  opportunity  than  any  other, 
for  it  embraces  the  spirit  of  the  times.  When  the  revolter  and  the  oppressor  are 
clearly  and  humanly  drawn,  it  makes  a  deep  appeal. 

A  (1) — A  Conspiracy  Chiefly  of  One  Individual. 
(2) — A  Conspiracy  of  Several. 

The  element  of  conspiracy  is  naturally  a  part  of  Revolt,  but  it  is  the  obvious  and 
melodramatic  phase  of  the  Situation.  These  subdivisions  have  been  frequently  used  in 
mystery  plays,  in  "crook"  plays,  and  in  various  kinds  of  propaganda  productions. 
Their  value  lies  in  the  mystery  and  intrigue  with  which  they  may  be  developed,  and  the 
possibilities  of  creating  and  maintaining  suspense.  In  thrilling  and  sensational  melo- 
drama they  obviously  have  an  important  place,  but  in  the  more  important  types  of 
drama  they  are  of  little  value. 

42 


B  (1) — Revolt  of  One  Individual,  Who  Influences  and  Involves  Others. 
(2)— A  Revolt  of  Many. 

The  first  of  these  two  pure  subdivisions  of  Revolt  is  of  especial  interest,  and  it 
has  served  effectively  in  a  number  of  very  modern  stage  plays,  such  as  Shaw's  "Fanny's 
First  Play"  and  Stanley  Houghton's  "Hindle  Wakes."  Much  of  the  best  fiction 
of  today,  especially  that  which  is  realistic,  is  concerned  with  Revolt,  either  of  one  indi- 
vidual or  of  many.  In  the  photoplay,  the  subject  has  been  treated  chiefly  in  capital 
and  labor  plays,  which  seldom  possess  a  vital  emotional  appeal,  and  in  plays  dealing 
with  similar  social,  rather  than  human,  problems.  Except  in  a  few  cases,  which  will 
be  mentioned  in  the  Examples,  the  subject  of  Revolt  has  not  been  dealt  with  in  a 
really  human  way.  For  the  screen,  naturally,  the  revolt  of  one  individual  who  influ- 
ences others  is  of  more  value  than  that  of  many,  for  it  leads  to  a  greater  concentration 
and  dramatic  tension. 

The  use  of  this  situation  in  Comedy  should  be  mentioned,  for  it  is  often  provoca- 
tive of  a  great  deal  of  laughter.  In  addition  to  straight  comedy,  the  attempt  has  been 
made,  occasionally,  to  develop  the  situation  in  a  satirical  way.  But  satire  is  so  entirely 
dependent  upon  words  that  it  seems  to  be  unsuited  for  the  screen.  A  touch  of  satire  in 
the  subtitles  is  very  often  effective,  but  in  general  there  must  be  some  weightier  emo- 
tional interest  in  photoplays.  It  is  well  to  remember  that  although  an  actor  may  speak 
satirically,  it  is  quite  impossible  for  him  to  act  satirically. 

NINTH  SITUATION— DARING  ENTERPRISE. 

The  necessary  elements  of  this  situation  are  a  Bold  Leader,  an  Object  and  an 
Adversary.  It  will  thus  be  seen  that  the  Conflict  which  forms  the  basis  of  all  the 
situations,  is  here  clearly  defined.  The  three  factors  of  a  dramatic  triad  are  set  forth, 
and  the  scene  is  laid  for  a  tense  and  interesting  drama.  Situation  IX  has  scarcely 
been  touched  by  the  modern  drama,  and  it  is  especially  suitable  for  the  screen.  The 
nature  of  the  enterprise,  the  kinds  of  scenery  required,  the  unusual  romance  of  the 
theme,  all  make  the  situation  of  photoplay  value.  Like  the  situation  of  Revolt,  it  has 
been  rarely  used  except  as  the  basis  of  commonplace  and  ordinary  melodrama.  The 
infinite  variations  of  the  theme — depending  upon  the  characters,  the  object  sought, 
the  many  kinds  of  difficulties  that  could  interfere  with  the  Lender's  success — have 
received  little  attention  from  the  dramatist.  Modern  fiction,  on  the  other  hand,  has 
some  notable  examples  of  this  situation. 

A — Preparation  for  War. 

B(l)— War, 

(2) — A  Combat. 

C  (1) — Carrying  Off  a  Desired  Person  or  Object. 

(2) — Recapture  of  a  Desired  Object. 

These  obvious  subdivisions  have  been  frequently  employed,  and  they  require 
careful  treatment.    At  this  time,  the  war  element  is  especially  exhausted  and  unpopular. 

D  (1) — Adventurous  Expeditions. 

(2) — Adventure  Undertaken  for  tbe  Purpose  of  Obtaining  a  Loved 
Woman, 

(3) — Adventure  Undertaken  for  the  Purpose  of  Saving  a  Loved  One's 
Honor. 

Nearly  all  fairy  tales,  a  great  deal  of  romance,  and  especially  the  so-called 
"adventure"  stories  of  today,  are  examples  of  the  use  of  these  subdivisions.  They 
are  capable  of  infinite  and  varied  development,  and  they  ofTer  the  observing  and 
creative  writer  excellent  suggestions  for  photoplays. 

Situation  IX  is  especially  effective  in  combination  with  VIII,  VI,  XIII,  but 
in  almost  every  case  it  forms  a  sound  basic  situation.  It  must  not  be  felt,  however, 
that  the  situation  should  be  used  to  excess  merely  because  many  of  its  phases  have  been 

41 


neglected.  But  if  the  author  brings  to  it  a  wide  experience,  a  love  of  romance,  and 
an  ability  to  characterize  charming  and  human  adventures,  he  will  probably  achieve 
success  in  the  development  of  Situation  IX. 

TENTH  SITUATION— ABDUCTION. 

The  necessary  elements  of  this  situation  are  the  Abductor,  the  Abducted  and  the 
Guardian. 

In  the  Tenth  Situation  we  come  upon  one  of  the  most  exhausted  dramatic  predica- 
ments. Perhaps  no  other  situation  of  the  entire  thirty-six  has  been  used  so  frequently 
as  this  one.  It  is  a  clear  case  of  rivalry;  and,  to  a  degree,  Situation  XXIV,  "Jealousy," 
appears. 

A — Abduction  of  an  Unwilling  Woman. 

B — Abduction  of  a  Consenting  Woman. 

C  (1) — Recapture  of  the  Woman  Without  the  Slaying  of  the  Abductor. 

(2) — The  Same  Case,  With  the  Slaying  of  the  Abductor. 

D  (1) — Rescue  of  a  Captive  Friend. 

(2)— Of  a  Child. 

(3) — Of  a  Sold  in  Captivity  to  Error. 

The  situation  of  abduction  has  been  used  chiefly  in  melodramas  and  in  serials. 
It  has  not  been  exhausted  as  a  dramatic  situation  but  it  requires  an  especially  careful 
development.  Every  phase  of  this  situation  has  been  repeatedly  used  with  the 
exception  of  D  (3).  This  subdivision  ofTers  an  excellent  opportunity  for  the  photo- 
playwright  to  develop  stories  based  upon  vital,  human  and  appealing  themes.  Infinite 
variations  of  D  (3),  "A  Soul  in  Captivity  to  Error,"  are  possible,  and  many  of  them 
may  be  used  effectively  on  the  screen.  One  of  the  examples  we  shall  consider,  "The 
Miracle  Man,"  is  an  especially  effective  use  of  this  subdivision.  Other  examples  will 
show  how  hackneyed  some  of  the  more  obvious  subdivisions  of  the  Tenth  Situation  are 
and  will  offer  caution  to  the  photoplaywright  in  their  use. 

B — The  abduction  of  a  consenting  woman  deserves  especial  mention  because  of 
its  value  in  comedy  drama.  The  character  of  the  consenting  woman  and  the  reasons  for 
her  consent,  as  well  as  the  character  of  the  abductor,  in  some  cases  perhaps  an  unwilling 
agent,  will  determine  the  value  of  its  use.  A  very  excellent  comedy  drama  of  the 
lighter  kind  might  be  written,  for  example,  on  the  premise  of  a  girl's  desire  to  be 
abducted  by  her  romantic  hero.  Although  the  situation  has  been  used  several  times 
in  this  form.  It  is  relatively  fresh,  and  with  proper  characterization  and  comedic  treat- 
ment it  should  prove  very  effective. 

Unless  some  novelty  of  treatment  of  Situation  X  can  be  devised,  the  photoplay- 
wright should  eschew  Its  use.     But  to  the  alert  imagination  it  is  still  interesting. 

ELEVENTH  SITUATION— THE  ENIGMA. 

The  necessary  elements  of  this  situation  are  the  Interrogator,  the  Seeker  and 
Problem. 

Except  in  "crook"  plays  and  in  other  mystery  stories.  Situation  XI  has  not  been 
used  to  any  great  extent  In  motion  pictures.  It  is  of  theatrical  value  because  it  is  one 
of  the  best  situations  for  creating  and  sustaining  suspense. 

A — Search  for  a  Person  Who  Must  Be  Foxmd  on  Pain  of  Death. 

B  ( 1 )— A  Riddle  to  Be  Solved  on  Pain  of  Death. 

(2) — The  Same  Case,  in  Which  the  Riddle  Is  Proposed  by  the  Coveted 
Woman. 

C  ( 1 ) — Temptations  Offered  With  the  Object  of  Discovering  His  Name. 

(2) — Temptations  Offered  With  the  Object  of  Ascertaining  the  Sex. 

(3) — Tests  for  the  Purpose  of  Ascertaining  the  Mental  Condition. 

+4 


This  situation  is  of  importance  as  a  means  of  developing  suspense,  but  it  should 
not  be  relied  on  to  furnish  vitality  or  emotional  appeal  to  a  play. 

These  subdivisions  were  of  more  value  in  classic  drama  than  in  the  photoplay  of 
today,  for  they  are  all  somewhat  morbid  and  disagreeable;  but  they  are  suggestive 
of  many  variations  of  the  same  kind  of  enigmas,  and  in  some  of  the  examples  we 
shall  consider,  we  will  find  that  the  modern  use  of  the  enigma  has  been  very  effective. 

A  photoplay  has  sometimes  been  divided  into  three  definite  parts,  corresponding  to 
Aristotle's  rule  that  a  drama  should  possess  a  beginning,  a  middle  and  an  end.  The 
photoplay  may  be  said  to  have  a  premise,  in  which  a  question  is  asked ;  a  development, 
in  which  certain  clues  to  the  answer  are  supplied,  though  the  enigmatic  nature  of 
the  question  remains  unchanged ;  and  a  conclusion,  in  which  the  true  answer  is  supplied. 
Photoplays  which  follow  the  word  as  well  as  the  spirit  of  this  rule  will  usually  fall 
into  one  or  another  phase  of  Situation  XI. 

The  rule  is  worth  remembering  as  a  test  of  logical  plot  development. 

TWELFTH  SITUATION— OBTAINING. 

A — Efforts  to  Obtain  an  Object  by  Ruse  or  Force. 
B — Endeavor  by  Means  of  Persuasive  Eloquence. 
C — Eloquence  With  an  Arbitrator. 

It  will  be  seen  from  these  subdivisions  that  Situation  XII  bears  a  direct 
relation  to  Situations  I  and  II,  "Supplication"  and  "Deliverance."  It  might,  indeed, 
be  listed  as  a  subdivision  of  either  of  these  Situations  but  its  use  in  the  classical  drama, 
particularly  where  the  spoken  word  is  of  impressive  dramatic  value,  requires  its  listing 
as  a  separate  and  distinct  Situation.  It  has  obvious  melodramatic  value,_  especially  in 
Subdivision  A,  and  in  its  more  subtle  phases,  it  is  a  milder,  gentler  Situation  than 
I  or  II.  However,  the  photoplaywright  should  not  depend  for  vital  dramatic  effect 
upon  Situation  XII. 


45 


CHAPTER  IX 
THIRTEENTH  SITUATION — ENIMITY  OF  KINSRIEN. 

The  necessary  elements  are  a  Malevolent  Kinsman,  a  Hated  or  Reciprocally 
Hating  Kinsman. 

Situation  XHI  is  an  excellent  example  of  dramatic  contrast.  It  might  be  stated, 
"hatred  of  one  who  should  be  loved"  and  is  therefore  the  converse  of  Situation  XXIX 

"Love  of  one  who  should  be  hated."     The  more  closely  are  drawn  the  bonds  of 

enmity,  the  more  effective  and  dramatic  will  be  the  outbursts  of  hate.  Also,  this  Situ- 
ation possesses  a  great  deal  of  dramatic  tension.  It  is  rather  difficult  to  use  it  plausibly, 
for  elements  of  discord  powerful  enough  to  break  the  strongest  human  ties  are  indeed 
ver>-  rare. 

A — Hatred  of  Brothers. 

(1) — One  Brother  Hated  by  Several. 

(2) — Reciprocal  Hatred. 

(3) — Hatred  Between  Relatives  for  Reasons  of  Self-interest. 

B — Hatred  of  Father  and  Son. 

( 1  )_Of  the  Son  for  the  Father. 

(2)— Mutual  Hatred. 

(3) — Hatred  of  Daughter  for  Father. 

The  enmity  between  father  and  daughter  when  the  parent  had  desired  a  boy, 
or  the  reverse,  is  the  most  frequent  use  of  this  situation.  The  enmity  of  a  mother-in- 
law  and  her  son  or  daughter-in-law  is,  of  course,  the  foundation  of  many  burlesques 
and  farcical  comedies.  Both  of  these  manifestations  may  be  mentioned  as  rather 
time-worn,  and  the  writer  should  use  the  ideas  suggested  with  great  hesitance  and  care. 

C — Hatred  of  Grandfather  for  Grandson. 

D — Hatred  of  Father-in-law  for  Son-in-law. 

E — Hatred  of  Mother-in-law  for  Daughter-in-law. 

F — Infanticide. 

The  subdivisions  here  listed  will  indicate  the  many  degrees  of  relationship  that 
may  be  used  to  express  Situation  XHI.  In  a  certain  sense  XHI  is  a  variant  of  Situ- 
ation Vni,  "Revolt,"  for  very  often  in  the  modern  drama,  the  enmitj'  of  kinsmen  is 
caused  by  the  revolt  of  the  young  against  the  traditional  conventions  of  the  old.  Such 
revolt  does  not  always  give  rise  to  definite  enmity,  but  often  it  approaches  that. 

The  Xnith  Situation  has  its  obvious  climactic  value  in  the  photoplay  and  it  has 
often  been  used  effectively.  The  chief  danger  lies  in  its  tendency  towards  exaggerated, 
unconvincing  melodrama.  The  writer  must  make  sure  that  his  characterization,  his 
theme,  and  every  incident  of  his  plot  are  plausible  and  convincing  and  that  they  lead 
inevitably  to  the  use  of  Situation  XIH.  Only  when  it  is  used  with  seeming  inevita- 
bility will  it  convince  and  really  grip  an  audience. 

FOURTEENTH  SITUATION— RIVALRY  OF  KINSMEN. 

The  necessary  elements  are  the  Preferred  Kinsman,  the  Rejected  Kinsman  and  the 
Object.    Situation  XIV  has  been  used  very  frequently,  both  in  fiction  and  in  the  photo- 

4< 


play.  The  most  obvious  forms  in  which  it  is  frequently  submitted  to  the  studios  is 
that  of  the  good  and  bad  brother  in  love  with  the  same  girl,  the  nobility  of  the  one 
contrasted  with  the  villainy  of  the  other.  Sometimes,  the  relationship  is  that  of 
cousins,  less  often  that  of  father  and  son  or  mother  and  daughter.  There  will  always 
be  a  strength  and  vitality  in  Situation  XIV,  but  as  in  the  preceding  case,  there  is  a  real 
danger  of  exaggeration  and  implausibility. 

A  ( 1 )  — Malicious  Rivalry  of  a  Brother. 

(2) — Malicious  Rivalry  of  Two  Brothers. 

(3) — Rivalry  of  Two  Brothers,  with  Adultery  on  the  Part  of  One. 

(4) — Rivalry  of  Sisters. 

B  (1) — Rivalry  of  Father  and  Son  for  an  Unmarried  Woman. 

(2) — Rivalry  of  Father  and  Son  for  a  Married  Woman. 

(3) — Case  Similar  to  the  Two  Foregoing,  but  in  Which  the  Object  Is 
Already  the  Wife  of  the  Father. 

(4) — Rivalry  of  Mother  and  Daughter. 

C — Rivalry  of  Cousins. 

D — Rivalry  of  Friends. 

Situation  XIV  offers  excellent  opportunity  to  the  really  creative  and  original 
author.  The  examples  cited  later  on  will  indicate  the  most  frequent  and  therefore  the 
least  effective  uses  of  this  Situation,  but  to  the  writer  with  a  clear  understanding  of 
human  relationship,  there  are  innumerable  phases  of  rivalry  of  kinsman  that  have  not 
been  exploited  by  the  modern  author.  The  danger  lies  in  the  tendency  to  treat  the 
Situation  in  a  sensational  and  unconvincing  way.  It  possesses  a  great  deal  of  crude 
dramatic  strength,  but  that  part  of  it  has  been  emphasized  almost  to  the  exclusion  of 
its  more  subtle  and  more  interesting  phases. 

When  the  subtler  phases  of  the  situation  are  used  skillfully,  with  appealing  char- 
acterization, as,  for  example,  in  "The  Blinding  Trail,"  it  makes  a  very  deep  and 
poignant  appeal.  In  that  story,  the  rivalry  between  the  two  girls  of  quite  opposite 
temperament  and  character,  cousins,  was  combined  with  the  sacrifice  of  the  one  for  the 
other.  It  resulted  in  a  deep,  human  drama  that  moved  the  audience,  in  a  thrilling, 
though  natural  and  restrained  way. 

FIFTEENTH  SITUATION— MURDEROUS  ADULTERY. 

The  necessary  elements  are  Two  Adulterers,  a  Betrayed  Husband  or  Wife. 
A  (1 ) — The  Slaying  of  a  Husband  by  or  for  a  Paramour. 
(2)— Tlie  Slaying  of  a  Trusting  Lover. 
B — Slaying  of  a  Wife  for  a  Paramour  and  in  Self-interest. 

There  is  little  room  for  this  Situation  in  the  photoplay,  for  whatever  strength  it 
may  possess  and  however  real  it  may  be,  it  is  not  suitable  for  presentation  to  such  a 
large  audience  as  that  of  the  photoplay.  In  classic  drama  it  has  been  used  with  a  great 
deal  of  effectiveness  and  in  some  cases  poetic  beauty,  but  in  the  photoplay  it^^has 
nearly  always  been  combined  with  Situation  XXXIII,  "Erroneous  Judgment,"  in 
which  case  the  murderous  adultery  does  not  develop  but  is  averted. 

SIXTEENTH  SITUATION— MADNESS. 

Madness  in  almost  any  form  is  of  little  value  in  the  photoplay  for  again  it  is  an 
unsuitable  subject  for  photoplay  production.  There  is  a  fascination  about  the  subject 
which  leads  many  writers  to  deal  with  it.  Often  it  is  used  in  a  comedic  way,  but  it  has 
been  found  by  experience  that  comedy  based  upon  such  a  theme  is  ineffective.  The 
gruesomeness  of  madness  or  the  actions  of  madness  are  too  revolting  to  possess  genuine 
entertainment  value.     The  subdivisions  that  have  been  used  in  classic  drama  are: 

A  (1) — Kinsmen  Slain  in  Madness. 

(2) — A  Lover  Slain  in  Madness. 

47 


(3) — Slaying  or  Injuring  of  a  Person  Not  Hated. 

B — Disgrace  Brought  Upon  One's  Self  Through  Madness. 

C — Loss  of  Loved  Ones  Brought  About  by  Madness. 

D — Madness  Brought  On  by  Fear  of  Hereditary  Insanity. 

Situation  XVI  bears  a  direct  relationship  to  the  XVIIth,  "Fatal  Imprudence," 
and  to  the  XXI Ind,  "All  Sacrificed  for  a  Passion,"  but  in  both  of  these  cases  the  mad- 
ness is  temporary,  and  therefore  less  revolting  than  in  the  phases  we  have  just 
considered. 

SEVENTEENTH  SITUATION— FATAL  IMPRUDENCE. 

The  necessary  elements  are  the  Imprudent,  the  Victim  or  the  Object  Lost. 

A  (1) — Imprudence  the  Cause  of  One's  Own  Misfortune. 

(2) — Imprudence  the  Cause  of  One's  Own  Dishonor. 

B  (1) — Curiosity  the  Cause  of  One's  Own  Misfortune. 

(2) — Loss  of  Possession  of  a  Loved  One,  Through  Curiosity.' 

C  (1) — Curiosity  the  Cause  of  Death  or  Misfortune  to  Others. 

(2) — Imprudence  the  Cause  of  a  Relative's  Death. 

(3) — Imprudence  the  Cause  of  a  Lover's  Death. 

(4) — Credulity  the  Cause  of  Kinsmen's  Deaths. 

Although  the  dramatic  interest  of  this  situation  will  be  apparent  from  a  listing  of 
the  subdivisions,  its  comcdic  value  should  be  especially  emphasized.  Very  often  impru- 
dence or  curiosity  has  been  used  with  a  great  deal  of  effect  in  one  or  two-reel  comedies. 
The  use  of  recoil  in  this  connection  is  obviously  effective.  In  comedy  drama  also  the 
subdivisions  A  (1),  B  (1)  and  (2)  may  be  developed  skillfully  and  they  are  by  no 
means  hackneyed.  In  the  purely  dramatic  phases,  the  situation  is  again  somewhat 
unsuited  to  the  screen  because  of  its  morbidity  and  unpleasantness. 

EIGHTEENTH  SITUATION— INVOLUNTARY  CRIMES  OF  LOVE. 

This  situation  is  one  of  the  most  fantastic  and  implausible  of  the  thirty-six.  It  is 
purely  dependent  upon  chance,  and  its  dramatic  value  is  therefore  minimized,  but  it 
evidently  possesses  a  deep  fascination  for  the  average  beginnmg  writer.  In  one  phase 
or  another,  the  idea  is  submitted  time  after  time.  It  has  been  used  to  exhaustion  in  the 
classical  drama  and  in  photoplays,  but  the  chief  objections  are  its  dependence  upon 
chance  and  the  unpleasantness  of  its  appeal. 

A(l) — Discovery  That  One  Has  Married  One's  Mother. 

(2) — Discovery  That  One  Has  Had  a  Sister  as  Mistress. 

B  (1) — Discovery  That   One  Has  Married   One's   Sister. 

(2) — The  Same  Case,  in  Which  the  Crime  Has  Been  Villainously 
Planned  by  a  Third  Person. 

(3) — Being  Upon  the  Point  of  Taking  a  Sister,  Unknowingly,  as 
Mistress. 

C — Being  Upon  the  Point  of  Violating,  Unknowingly,  a  Daughter. 

D  (1) — Being  Upon  the  Point  of  Committing  an  Adultery  Unknow- 
ingly. 

(2) — Adultery  Committed  Unknowingly. 

The  most  frequent  subdivision  is  that  of  B  (1),  which  is  submitted  regularly  to 
the  motion  picture  studios  until  the  editors  feel  there  is  no  originality  left  in  the 
world.  But  any  and  all  of  the  subdivisions  of  this  Situation  should  be  studiously 
avoided,  for  they  are  dramatically  valueless.  The  fundamental  implausibility  of  such 
relationships  and  the  depressing  nature  of  any  theme  involving  the  Situation  renders 
it  unsuitable  for  photoplay  use.  The  photoplayvvright  who  really  respects  his  medium 
and  who  wishes  to  inspire  as  well  as  to  entertain  his  audience  will  avoid  Situations 
of  this  type. 

48 


CHAPTER  X 
NINETEENTH  SITUATION— SLAYING  OF  A  KINSMAN  UNRECOGNIZED. 

Like  the  preceding  Situation,  this  one  is  fundamentally  implausible  for  it  depends 
upon  the  accident  of  one's  failure  to  recognize  a  kinsman. 

A  (1) — Being  Upon  the  Point  of  Slaying  a  Daughter  Unknowingly  by 
Command  of  a  Divinity  or  an  Oracle. 

(2)— Through  Political  Necessity. 

(3) — Through  a  Rivalry  in  Love. 

(4) — Through  Hatred  of  the  Lover  of  the  Unrecognized  Daughter. 

B  (1) — Being  Upon  the  Point  of  Killing  a  Son  Unknowingly. 

(2) — A  Son  Slain  Without  Being  Recognized. 

C — Being  Upon  the  Point  of  Slaying  a  Brother  Unknowingly. 

D — Slaying  of  a  Mother  Unrecognized. 

E — A  Father  Slain  Unrecognized. 

F — Failure  to  Rescue  an  Unrecognized  Son. 

The  foregoing  subdivisions  are  listed  chiefly  because  they  will  indicate  to  the 
photoplaywright  various  human  relationships  which  should  be  avoided  in  writing  for 
the  screen.  It  is  worth  while  noting  that  Shakespeare,  who  had  the  most  thorough 
understanding  of  human  nature  and  of  dramatic  values  of  any  man  who  has  ever 
written,  never  made  use  of  Situation  XIX.  He  recognized  it  as  an  altogether  acci- 
dental situation  and  one  which  had  no  bearing  upon  his  studies  of  the  will.  Because 
it  is  accidental,  it  does  not  provide  the  writer  with  a  genuine  opportunity  for  creating 
characters. 

In  this  connection  one  should  remember  the  dramatic  formula:  Nature  creates 
Character,  and  Character  manifests  itself  in  Action.  If  the  writer  allows  his  Char- 
acters to  manifest  themselves  in  accidents  rather  than  in  logical,  natural  action,  the 
whole  power  of  drama  as  a  concentrated  and  impressive  picture  of  life  will  be  lost. 

TWENTIETH  SITUATION— SELF-SACRIFICE  FOR  AN  IDEAL. 

The  self-sacrifice  of  Jesus  on  the  Cross  has  been  called  the  most  inspiring  moment 
in  all  human  history.  Certainly  no  situation  is  as  noble  as  this  one.  Whatever  the 
ideal  may  be,  whether  political,  religious,  personal  or  philosophical,  the  sacrifice  of  the 
central  character  of  all  interests,  passions,  even  of  life  itself— a  complete  renunciation 
of  the  things  commonly  considered  of  value  and  the  apotheosis  of  the  ideal — constitutes 
one  of  the  most  inspiring  human  acts.  It  is  capable  of  many  variations  and  it  is  as 
fresh  today  as  it  was  two  thousand  years  ago,  for  nothing  is  S3  rare  and  nothing  is  so 
inspiring  as  such  a  sacrifice. 

A  ( 1 )— Sacrifice  of  Life  for  the  Sake  of  One's  Word. 

(2)— Life  Sacrificed  for  the  Success  of  One's  People  or  for  the  Happi- 
ness of  One's  People. 

(3)— Life  Sacrificed  in  Filial  Piety. 

(4)— Life  Sacrificed  for  the  Sake  of  One's  Faith  or  for  the  Sake  of 

49 


B  (1) — Both  Love  and  Life  Sacrificed  for  One's  Faith. 

(2) — Both  Love  and  Life  Sacrificed  to  a  Cause. 

(3) — Love  Sacrificed  to  Interests  of  State. 

C — Sacrifice  of  Well-being  to  Duty. 

D — The  Ideal  of  Honor  Sacrificed  to  the  Ideal  of  Faith. 

Despite  the  nobility  and  the  dramatic  value  of  Situation  XX  it  must  not  be 
supposed  that  any  simple  use  of  the  theme  of  "self-sacrifice  for  an  ideal"  will  constitute 
effective  photoplay  material.  As  in  every  other  case,  the  theme  must  be  authentic, 
vital  and  humanly  appealing  and  the  characters  must  be  drawn  in  effective  contrast. 
Because  of  its  inherent  fineness,  this  situation  should  be  used  only  when  the  other  ele- 
ments of  a  story  justify  its  use  and  make  it  necessary.  The  writer  should  avoid 
selecting  material  simply  because  it  has  been  considered  effective  or  of  value.  Let  your 
ideas  spring  from  a  knowledge  and  love  of  life  and  use  this  work  merely  as  a  critical 
guide  and  reference. 

TWENTY-FIRST  SITUATION— SELF-SACRIFICE  FOR  KINDRED. 

A  (1 ) — Life  Sacrificed  for  Tlial  of  a  Relative  or  a  Loved  One. 

(2) — Life  Sacrificed  for  the  Happiness  of  a  Relative  or  a  Loved  One. 

B  (1) — Ambition  Sacrificed  for  the  Happiness  of  a  Parent. 

(2) — Ambition  Sacrificed  for  the  Life  of  a  Parent. 

C  (1) — Love  Sacrificed  for  the  Sake  of  a  Parent's  Life. 

(2)— For  the  Happiness  of  One's  Child  or  for  the  Happiness  of  a  Loved 
One. 

D  (1) — The  Life  and  Honor  Sacrificed  for  the  Life  of  a  Parent  or 
Loved  One  or  the  Same  Sacrifice  Made  for  the  Honor  of  a  Loved  One. 

(2) — Modesty  Sacrificed  for  the  Life  of  a  Relative  or  a  Loved  One. 

The  twenty-first  Situation  possesses  a  warm  human  quality  that  even  the  pre- 
ceding one  lacks,  but  self-sacrifice  for  a  relative  or  for  a  loved  one  has  formed  the 
basis  of  a  great  many  fiction  stories  and  photoplays.  The  theme,  unless  treated  with 
distinction  and  novelty,  is  very  trite.  But  there  are  many  ways  in  which  the  basic  idea 
of  this  situation  may  be  used  with  effect.  The  subdivisions  listed  above  indicate  the 
tension  possible  in  the  use  of  this  situation  and  if  it  is  treated  as  an  authentic  develop- 
ment of  the  relationship  of  real,  living  characters,  it  will  make  powerful  photoplay 
material.  But  the  photoplaywright  should  be  especially  careful  to  analyze  his  charac- 
terization, his  theme  and  his  plot  elements  in  order  to  determine  whether  or  not  they 
possess  a  freshness  of  viewpoint  that  will  hold  the  interest  of  the  spectator. 

TWENTY-SECOND  SITUATION— ALL  SACRIFICED  FOR  A  PASSION. 

A  ( 1 )  — Religious  Vows  of  Chastity  Broken  for  a  Passion. 

(2) — A  Vow  of  Purity  Broken. 

(3) — A  Future  Ruined  by  a  Passion. 

(4) — Power  Ruined  by  Passion. 

(5) — Ruin  of  Mind,  Health  and  Life. 

B — Temptations,  Destroying  the  Sense  of  Duty. 

C  (1 ) — Destruction  of  Honor,  Fortune  and  Life  by  Erotic  Vice. 

(2) — The  Same  Efifecl  Produced  by  Any  Other  Vice. 

The  chief  use  of  this  situation  in  photoplays  has  been  in  stories  which  traced  the 
downfall  of  man  or  woman,  caused  by  drunkenness,  gambling,  the  use  of  drugs,  etc., 
but  the  tendency  of  the  producers  and  the  public  is  to  avoid  subjects  of  this  type. 
There  is  little  demand  for  studies  in  physical  or  moral  degeneration.  Unless  this 
Situation  is  used  merely  as  the  premise  of  a  photoplay  and  the  action  developed  along 

50 


an  entirely  different  line  after  the  idea  of  sacrifice  for  passion  is  planted,  the  situation 
will  have  little  dramatic  value.  In  this  connection  especial  mention  should  be  made  of 
the  degeneration  of  noble  heroes,  caused  by  women  of  the  "vampire"  type.  To  label 
a  certain  character  a  "vampire"  is  merely  to  indicate  a  type.  Stories  involving  such 
characters  and  such  conflicts  are  usually  unreal  and  implausible.  This  Situation  has 
been  used  effectively  by  Shakespeare,  Sardou,  Oscar  Wilde  and  Biblical  authors,  but 
from  the  screen  standpoint,  it  is  of  little  straight  dramatic  value. 

The  subdivisions  listed  above  may  suggest  only  the  melodramatic  or  morbid 
phases  of  the  Situation,  but  there  have  been  a  number  of  comedies  and  comedy  dramas 
developed  from  the  same  theme.  Consider  subdivision  C  (2),  for  example.  In  a 
comedy  this  idea  might  be  developed  in  this  way:  A  young  husband  with  a  "passion" 
for  poker  deceives  his  wife,  who  becomes  jealous  (XXXII),  etc.,  etc.  Similar  mild 
and  amusing  "passions"  might  lead  to  the  loss  of  loved  ones,  thus  offering  a  good 
opportunity  for  the  writer  who  can  appreciate  the  irony  of  such  a  use  of  recoil. 

TWENTYTHIRD  SITUATION— NECESSITY  OF  SACRIFICING 

LOVED  ONES. 

A  (1) — Necessity  for  Sacrificing  a  Daughter  in  the  Public  Interest. 

(2) — Duty  of  Sacrificing  Her  in  Fulfillment  of  a  Vow  to  God. 

(3) — Duty  of  Sacrificing  Benefactors  or  Loved  Ones  to  One's  Faith. 

B  ( 1 )  — Duty  of  Sacrificing  One's  Child,  Unknown  to  Others,  Under  the 
Pressure  of  Necessity. 

(2) — Duty  of  Sacrificing  Under  the  Same  Circumstances,  One's  Father, 
One's  Husband,  One's  Son-in-law,  One's  Brother-in-law  or  Another  Relative. 

(3) — Duty  of  Contending  With  a  Friend. 

This  Situation  has  seldom  been  used  in  any  of  the  phases  here  listed  in  photoplays. 
It  is  closely  related  to  Situation  XXI,  "Self-Sacrifice  for  Kindred,"  and  also  to  Situa- 
tion XIII,  "Hatred  of  Kindred,"  but  its  chief  use  has  been  in  classic  drama.  There 
are  relatively  few  cases  in  modern  life  in  which  a  character  has  fulfilled  the  duty  or 
the  urgent  necessity  of  sacrificing  loved  ones.  The  ethic  of  today  is  more  highly 
developed  than  that  of  Greece  or  Rome,  and  there  is  no  longer  an  emotionally  inter- 
esting sense  of  duty  so  intense.  On  the  other  hand,  there  have  been  occasional 
fiction  stories  and  photoplays  in  which  Situation  XXIII  has  been  used  in  a  mild  form. 
When  we  take  up  the  examples,  we  shall  find  in  certain  political  stories  in  which,  for 
instance,  an  authority,  such  as  a  judge,  is  compelled  by  sense  of  duty  to  sacrifice  a  loved 
one — and  in  other  dramas  of  the  same  type,  a  partial  use  of  Situation  XXIII. 

Situations  XX,  XXI,  XXII  and  XXIII  are  closely  related  and  they  are  based 
upon  the  same  general  theme  of  self-sacrifice.  They  have  genuine  dramatic  value,  espe- 
cially the  first  two  of  the  four,  and  if  used  with  a  sense  of  characterization  values  and 
skillful  plot  intelligence,  they  will  form  the  basis  of  many  successful  photoplays.  An 
ever-present  danger  lies  in  the  tendency  to  sentimentalize  over  this  theme,  especially 
in  dealing  with  the  often-used  idea  of  a  mother's  sacrifice  for  her  child  and  similar  cases. 

There  is  a  very  fine  line  between  warm,  human  sentiment,  an  appeal  to  the  deepest 
feelings  of  an  audience,  and  mawkish,  tiresome,  exaggerated  sentimentality.  This  is 
largely  a  matter  of  characterization,  but  the  writer  must  beware  of  the  pitfalls  of 
sentimentality  inherent  in  such  situations. 

TWENTY-FOURTH  SITUATION— RIVALRY  OF  SUPERIOR  AND 

INFERIOR. 

In  a  sense,  this  Situation  is  a  logical  development  of  the  VII Ith,  "Revolt,"  and  is 
often  so  used  in  the  photoplay.  It  is  of  almost  equal  effectiveness  in  comedy  or  serious 
drama,  for  there  is  a  compelling  appeal  to  our  sympathies  in  any  situation  in  which 
so  clean  and  vital  a  struggle  is  apparent.     This  situation  lends  itself  to  many  combi- 

51 


nations.  We  have  already  referred  to  its  use  with  the  Vlllth,  but  it  is  similarly  of 
dramatic  interest  in  combination  with  I,  "Supplication";  II,  "Deliverance";  III, 
"Crime  Pursued  by  Vengeance";  VII,  "Falling  Prey  to  Cruelty  or  Misfortune,"  all 
of  the  situations  dealing  with  Sacrifice,  XXXIII,  "Erroneous  Judgment,"  etc.  It 
therefore  serves  as  an  excellent  basic  situation,  and  if  properly  combined  and  developed 
it  will  be  of  great  value  to  the  writer.  In  this  situation  we  have  again  a  very  fine 
example  of  the  use  of  dramatic  contrast.  The  necessary  elements  are  the  Superior 
Rival,  the  Inferior  Rival  and  the  Object,  and  the  conflict  is  expressed  in  the  situation 
itself. 

A — Masculine  Rivalries.      (1) — Of  a  Mortal  and  an  Immortal. 

(2) — Of  a  Magician  and  an  Ordinary  Man. 

(3) — Of  Conqueror  and  Conquered.     Of  a  Master  and  a  Banished  Man. 

(4) — Of  Suzerain  King  and  Vassal  Kings. 

(5)_Of  a  King  and  a  Noble. 

(6) — Of     a  Powerful  Person  and  an  Upstart. 

(7)_Of  Rich  and  Poor. 

(8) — Of  an  Honored  Man  and  a  Suspected  One. 

(9) — Rivalry  of  Two  Who  Are  Almost  Equal. 

(10) — Rivalry  of  Equals,  One  of  Whom  Has  in  the  Past  Been  Guilty 
of  Adultery. 

( 1 1  )_Of  a  Man  Who  Is  Loved  and  One  Wlio  Has  Not  the  Right  to  Love. 

(12) — Of  the  Two  Successive  Husbands  of  a  Divorcee. 

B — Feminine  Rivalries.     ( 1 ) — Of  a  Sorceress  and  an  Ordinary  Woman. 

(2) — Of  Victor  and  Prisoner. 

(3) — Of  Queen  and  Subject. 

(4) — Of  a  Queen  and  a  Slave. 

(5) — Of  a  Lady  and  a   Servant. 
""(6) — Of  a  Lady  and   a  Woman  of  Humbler  Position,  and  of  a  Lady 
and  Two  Women  of  Humbler  Class. 

(7) — Rivalry   of  Two   Who   Are  Almost   Equals,   Complicated  by  the 
Abandonment  of  One. 

(8) — Rivalry  Between   a  Memory  or  an  Ideal — (That  of   a  Superior 
Woman)  and  a  Vassal  of  Her  Own. 


52 


CHAPTER  XI 


TWENTY-FIFTH  SITUATION— ADULTERY. 

This  situation,  like  XV,  "Murderous  Adultery,"  must  be  dealt  with  very  care- 
fully in  writing  for  the  screen,  because  of  its  salacious  and  sensational  element.  It  has 
been  used  skillfully  in  photoplays  and  has  made  a  genuine  dramatic  appeal,  but  unless 
it  is  used  in  combination  with  Situations  XXXII  or  XXXIII  or  XXXIV,  it  does 
not  possess  real  strength. 

In  such  cases  it  is  not  "Adultery"  properly,  but  it  possesses  the  strength  and  inter- 
est of  the  basic  conflict  of  "Adultery"  without  the  disagreeable  and  unpleasant 
developments. 

A — A  Mistress  Betrayed:     (1) — For  a  Younger  Woman. 

(2) — For  a  Young  Wife. 

(3) — For  a  Girl. 

B — A  Wife  Betrayed :     ( 1 )  — For  a  Slave,  Who  Does  Not  Love  in  Return. 

(2) — For  Debauchery. 

(3) — For  a  Married  Woman. 

(4) — With  the  Intention  of  Bigamy. 

(5) — For  a  Young  Girl,  Who  Does  Not  Love  in  Return. 

(6) — A   Wife   En\'ied   by   a   Young   Girl   Who   Is   in    Love   With   Her 


Husband. 

(7 

(8 
tress  Who  Is  Congenial. 


-By  a  Courtesan. 

-Rivalry  Between  a  Lawful  Wife  Wlio  Is  Antipathetic  and  a  Mis- 


(9) — Between  a  Generous  Wife  and  an  Impassioned  Girl. 

C  (1) — An  Antagonistic  Husband  Sacrificed  for  a  Congenial  Lover. 

(2) — A  Husband,  Believed  to  Be  Lost,  Forgotten  for  a  Rival. 

(3) — A  Commonplace  Husband  Sacrificed  for  a  Sympathetic  Lover. 

(4) — A  Good  Husband  Betrayed  for  an  Inferior  Rival. 

(5) — For  a  Grotesque  Rival. 

(6) — For  an   Odious  Rival. 

(7) — For  a  Commonplace  Rival,  But  a  Perverse  Wife. 

(8) — For  a  Rival  Less  Handsome,  But  Useful. 

D  (1) — Vengeance  of  a  Deceived  Husband. 

(2) — Jealousy  Sacrificed  for  the  Sake  of  a  Cause. 

E — A  Husband  Persecuted  by  a  Rejected  Rival. 

The  writer  should  avoid  this  and  similar  subjects  entirely  unless  he  is  positive 
that  his  theme  and  his  characterization  are  of  sufficient  dramatic  value  to  justify  such  a 
sensational  clement.  The  subdivisions  are  listed  here  as  a  reference  of  what  to  avoid 
rather  than  as  suggestions  for  development. 

Despite  the  fact  that  this  situation  is  sensational  and  suggestive,  its  subdivisions 
are  of  genuine  dramatic  interest,  as  a  close  examination  will  show,  and  if  one  can 

53 


suggest  the  conflicts  implied  without  revealing  the  action  in  a  crude  and  depressing 
manner,  they  arc  useful.  This  has  been  done  in  a  number  of  successful  photoplays,  by 
suggestion  and  implication,  notably  in  a  minor  episode  of  "For  Husbands  Only." 
Most  often,  however,  as  in  the  successful  "Don't  Change  Your  Husband,"  the  essential 
conflict  of  this  situation  was  made  agreeable  by  the  divorce,  marriage,  divorce  and 
remarriage  of  the  principals.  In  such  a  use  the  situation  is  definitely  a  phase  of  the 
preceding,  "Rivalry  Between  a  Superior  and  Inferior,"  but  it  possesses  the  added 
"Love"  interest.  Largely  because  of  its  tense  element  of  conflict  this  situation  should 
be  carefully  studied  by  the  student,  for  it  is  of  exceptional  value  in  its  subtler  and  more 
delicate  subdivisions. 

TWENTY-SIXTH  SITUATION — CRIMES  OF  LOVE. 

This  situation  is  of  even  less  dramatic  value  than  XVIII,  "Involuntary  Crimes 
of  Love."  In  that  case,  the  lack  of  drama  was  due  to  the  accidental  nature  of  relation- 
ship. In  this  case,  we  deal  with  erotic,  depressing,  diseased  and  psycopathic  manifesta- 
tions. It  is  not  worth  while  listing  all  the  subdivisions  that  have  been  used  in  classical 
drama,  but  it  is  necessary  to  mention  a  few,  such  as: 

A  Mother  in  Love  With  Her  Son; 

A  Daughter  in  Love  With  Her  Father; 

A  Woman  Enamored  of  Her  Stepson;  or  a  Womtm  and  Her  Stepson 
Enamored ; 

A  Woman  Being  the  Mistress  at  the  Same  Time  of  a  Father  and  Son, 
Both  of  Whom  Accept  the  Situation; 

A  Man  Being  the  Lover  of  a  Sister-in-law; 

Brother  and  Sister  in  Love  With  Each  Other. 

The  only  two  nuances  of  this  situation  that  are  allowable  in  the  photoplay  are: 
A  woman  enamoured  of  her  stepson,  or  a  woman  and  her  stepson  enamoured  of  each 
other;  and  a  man  enamoured  of  his  sister-in-law,  or  stepmother.  If  these  phases  are 
used  in  combination  with  other  situations  that  relieve  the  depressing  effect,  they  have 
their  place  in  dramas  of  a  certain  class. 

The  other  crimes  of  love  should  be  obviously  acknowledged  as  unsuitable  for  the 
wide  audience  of  the  screen,  but  the  frequent  submission  of  the  theme— "a  brother  and 
sister  in  love  with  each  other" — requires  a  word  of  caution.  Even  though  it  is  com- 
bined with  Situation  XXXIII,  "Erroneous  Judgment,"  and  the  relationship  thus 
proved  non-existent,  it  is  terribly  hackneyed  and  too  depressing  for  photoplay  treat- 
ment.    It  lacks  what  all  good  photoplays  must  have — "entertainment  value." 

Situation  XXVI  should  therefore  be  avoided  almost  entirely,  except  in  the  two 
phases  mentioned  above,  and  they  should  be  used  with  a  great  deal  of  hesitant 
reluctance. 

TWENTY-SEVENTH  SITUATION— DISCOVERY  OF  THE 
DISHONOR  OF  A  LOVED  ONE. 

This  situation  is  related  to  the  XXIIIrd,  "Sacrifice  of  Loved  Ones."  There  is 
a.  great  deal  of  dramatic  tension  in  any  discovery  of  the  dishonor  of  a  loved  one,  espe- 
cially if  the  loved  one  has  been  held  in  high  esteem  before.  The  subdivisions  listed 
below  are  mostly  sensational  and  melodramatic,  for  that  is  the  tendency  of  the  dra- 
matists of  the  past,  but  there  is  plenty  of  room  for  new  and  interesting  developments 
of  the  XXVIIth  Situation,  especially  in  A  (1),  A  (2),  D  (1)  and  D  (5).  In  its 
more  subtle  forms,  Situation  XXVII  possesses  a  dramatic  value  unequaled  by  any 
except  the  four  dealing  with  self-sacrifice,  but  again  there  is  the  danger  of  sensational, 
exaggerated,  implausible  development.  The  author  should  test  his  plot  and  his  char- 
acterizations thoroughly  before  he  finally  decides  upon  the  use  of  Situation  XXVII. 

54 


Lest  it  seem  that  too  great  stress  has  been  laid  upon  the  purely  dramatic  and 
melodramatic  phases  of  some  of  the  situations  we  have  considered,  it  is  well  to  remem- 
ber that  almost  every  situation  may  also  be  treated  in  a  comedic  way.  The  situation 
is  the  bare  plot  basis ;  characterization,  development,  treatment  make  the  finished  play 
definitely  drama,  melodrama,  comedy  drama  or  comedy.  In  this  case,  for  example, 
subdivisions  B  (1),  B  (5)  and  B  (7)  are  susceptible  of  comedic  treatment. 

A(l) — Discovery  of  a  Mother's   Shame. 

(2) — Discovery  of  a  Father's  Shame. 

(3) — Discovery  of  a  Daughter's  Dishonor. 

B  (1) — Discovery  of  a  Dishonor  in  the  Family  of  One's  Fiancee. 

(2) — Discovery  That  One's  Wife  Has  Been  Violated  Before  Marriage 
—Since  the  Marriage. 

(3) — Discovery  that  She  Has  Previously  Committed  a  Fault. 

(4) — Discovery  that  One's  Wife  Has  Formerly  Been  a  Wanton. 

(5) — Discovery  of  Dishonor  on  the  Part  of  a  Lover. 

(6) — Discovery  that  One's  Mistress,  Formerly  a  Wanton,  Has  Returned 
to  Her  Old  Life. 

(7) — Discovery  That  One's  Lover  Is  a  Scoundrel,  or  That  One's  Mistress 
Is  a  Woman  of  Bad  Character,  The  Same  Discovery  Concerning  a  So- 
called  King. 

(8) — The  Same  Discovery  Concerning  One's  Wife. 

C — Discovery  Tliat  One's  Son  Is  an  Assassin. 

D  (1) — Duty  of  Punishing  a  Son  Who  Is  a  Traitor  to  Country — A 
Brother  Who  Is  a  Traitor  to  His  Party. 

(2) — Duty  of  Punishing  a  Son  Condemned  Under  a  Law  Which  the 
Father  Has  Made. 

(3) — Duty  of  Punishing  a  Son  Believed  to  Be  Guilty. 
(4) — Duty  of  Sacrificing,  to  Fulfill  a  Vow  of  Tyrannicide,  a  Father 
Until  Tlien  Unknown. 

(5) — Duty  of  Punishing  One's  Mother  to  Avenge  One's  Father. 

TWENTY-EIGHTH  SITUATION— OBSTACLES  TO  LOVE. 

A  (1) — Marriage  Prevented  by  Inequality  of  Rank. 

(2) — Inequality  of  Fortune  an  Impediment  to  Marriage. 

B — Marriage  Prevented  by  Enemies  and  Contingent  Obstacles. 

C  (1) — Marriage  Forbidden  on  Account  of  the  Young  Woman's  Pre- 
vious Betrothal  to  Another. 

(2) — Tlie  Same  Case,  Complicated  by  an  Imaginary  Marriage  of  the 
Beloved  Object. 

D  ( 1 ) — A  Free  Union  Impeded  by  the  Opposition  of  Relatives. 

(2) — Family  Affection  Disturbed  by  the  Parents-in-law. 

E — By  the  Incompatibility  of  Temper  of  the  Lovers. 

Although  this  situation  in  some  of  the  preceding  subdivisions  has  been  used 
repeatedly  as  the  basis  of  melodrama,  its  chief  photoplay  value  lies  in  comedy  drama 
and  straight  comedy.  A  (1),  (2),  C  (1),  (2),  D  (2)  are  excellent  bases  for  comedy 
and  comedy  drama.  Indeed,  it  may  be  estimated  that  about  fifty  per  cent  of  the  comedy 
dramas  that  have  been  produced  have  been  combinations  of  Situations  XXVIII  and 
XXXIII.  The  obvious  obstacles  have  been  exhausted  by  too  frequent  use,  but  there 
are  so  many  variations  that  can  be  devised  to  separate  or  estrange  lovers  that  the  situ- 
ation is  still  virtually  untouched  by  the  dramatist.     A  keen  study  and  observation  of 

55 


life  will  offer  many  suggestions  of  ways  to  use  this  situation.  In  fact,  obstacles  to  love 
are  of  most  frequent  occurrence  in  the  stormy  life  of  youth  and  any  real  understanding 
of  life  will  be  suggestive  of  new  variations  on  this  theme. 

TWENTY-NINTH  SITUATION— AN  ENEMY  LOVED. 

This  situation  bears  a  close  relation  to  V,  "Pursuit,"  and  to  III,  "Crime  Pursued 
by  Vengeance,"  but  it  possesses  the  additional  strength  of  the  love  element.  It  has 
formed  the  basis  of  innumerable  Western  melodramas  and  has  been  used  in  virtually  all 
of  the  "feud"  stories,  of  various  locales.  The  love,  for  e.xample,  of  the  daughter  of  a 
moonshiner  for  a  revenue  officer,  or  the  love  of  a  cattle  rancher's  daughter  for  an 
enemy  sheep  owner  are  two  familiar  cases  of  its  use.  Because  of  its  particular  screen 
value,  it  has  been  exhausted  in  many  forms,  and  if  the  photoplaywright  finds  it  a  neces- 
sary part  of  a  play,  he  should  make  sure  first  of  all  that  the  theme  and  characters  are 
worthy  of  careful  development. 

In  its  comedic  form  the  situation  is  virtually  the  same  as  subdivision  B  of  the 
XXVIIIth.  From  that  standpoint,  also,  the  situation  has  been  cheapened  by  too  fre- 
quent use  and  the  writer  should  be  very  careful  in  developing  it. 

A — Tlie  Loved  One  Hated  by  Kinsmen  of  the  Lover. 

(1) — The  Lover  Pursued  by  the  Brotliers  of  His  Beloved. 

(2) — The  Lover  Hated  by  the  Family  of  His  Beloved. 

(3) — The  Lover  Is  the  Son  of  a  Man  Hated  by  the  Kinsmen  of  His 
Beloved. 

(4) — The  Beloved  Is  an  Enemy  of  the  Party  of  the  Woman  Wlio 
Loves  Him. 

B  (1) — The  Lover  Is  the  Slayer  of  the  Father  of  His  Beloved. 

(2) — The   Beloved   Is  the  Slayer  of  the  Father  of  Her  Lover. 

(3) — The  Beloved  Is  the  Slayer  of  the  Brother  of  Her  Lover. 

(4) — The  Beloved  Is  the  Slayer  of  the  Husband  of  the  Woman  Who 
Loves  Him,  but  Who  Has  Previously  Sworn  to  Avenge  That  Husband. 

(5) — The  Same  Case,  Except  That  a  Lover,  Instead  of  a  Husband,  Has 
Been  Slain. 

(6) — Tlie  Beloved  Is  the  Slayer  of  a  Kinsman  of  the  Woman  Who 
Loves  Him. 

(7) — The  Beloved  Is  the  Daughter  of  the  Slayer  of  Her  Lover's  Father. 

THIRTIETH  SITUATION— AMBITION. 

The  necessary  elements  of  this  situation  are  an  ambitious  person,  a  thing  coveted, 
and  an  ad\'ersary.  The  passion  of  ambition  is  one  of  the  most  intellectual  and  deeply 
appealing  of  human  emotions.  Its  forms  are  myriad,  depending  upon  the  character  of 
the  ambitious  person  and  the  infinite  variations  of  the  thing  desired.  Strangely  enough, 
this  situation,  which  is  suggestive  of  plots  dealing  with  the  basic  emotional  conflicts  of 
humanity,  has  been  practically  ignored  by  dramatists  of  today.  It  consequently  offers 
a  large  and  suggestive  field  to  the  photoplaywright  who  understands  and  can  interpret 
the  multifarious  expressions  of  ambition. 

A — Ambition  Watched  and  Guarded  Against  by  a  Kinsman  or  a  Patriot 
Friend. 

(1) — By  a   Brother. 

(2) — By  a  Relative  or  a  Person  Under  Obligation. 

(3) — By  Partisans. 

B — Rebellious  Ambition. 

"Rebellious  Ambition"  is  closely  related  to  VIII,  "Revolt,"  but  it  is  e\en  stronger 
than  that,  for  it  is  more  soundly  motivated. 

56 


A  valuable  exercise  for  the  reader  will  be  to  conceive  as  many  forms  of  Ambition 
as  possible,  and  then  to  trace  their  logical  combination  with  other  situations.  This 
practice  is  of  value  in  every  case,  but  in  Situation  XXX  it  will  be  especially  stimulat- 
ing. The  only  way  to  develop  plot  ability  is  to  create  plots.  With  this  situation  as  a 
beginning,  outline,  in  accordance  with  the  method  suggested  before,  at  least  ten  plots. 
Then  analyze  each  one  in  turn,  testing  its  strength  and  value.  In  this  way  one  will 
acquire  a  keen  critical  power  and  an  imaginative  alertness. 

C  (1) — Ambition  and  Covetousness  Heaping  Crime  Upon  Crime. 
(2) — Parricidal  Ambition,  or  Ambitious  Desire  to  Slay  a  Parent  for 
Self -Aggrandizement. 


57 


CHAPTER  XII 
THIRTY-FIRST  SITUATION— STRUGGLE  AGAINST  A  GOD. 

A  (1) — Struggle  Against  a  Deity. 

(2) — Strife  With  the  Believers  in  a  God. 

B  (1) — Controversy  With  a  Deity. 

(2) — Punishment  for  Contempt  of  a  God. 

(3) — Punishment  for  Pride  Before  a  God. 

(4) — Presumptuous  Rivalry  With  a  God. 

(5) — Imprudent  Rivalry  With  a  Deity. 

This  situation  deals  with  the  supreme  strife,  and  forms  the  basis  of  the  greatest 
dramas  of  all  time.  Except  in  A  (2)  it  has  rarely  been  used  in  the  photoplay,  for  its 
popular  appeal  is  obviously  not  great.  It  requires  a  breadth  of  treatment  and  a  philo- 
sophical insight  which  arc  indeed  rare,  and  although  it  may  occasionally  be  employed 
in  one  of  its  minor  phases,  as,  for  example,  in  a  story  dealing  with  the  bitter  struggle 
of  an  atheist  to  deny  God,  only  to  find  in  the  end  that  God  is  omnipotent,  its  general 
value  is  rather  limited.  Lois  Weber's  production,  "When  a  Girl  Loves,"  made  use  of 
that  phase  of  the  situation  in  the  beginning  of  the  story,  but  it  quickly  merged  into  a 
more  human  and  appealing  struggle. 

Since  this  situation  is  representative  of  the  strife  supreme,  every  other  that  presents 
a  clear  case  of  conflict  may  in  a  sense  be  considered  a  phase  of  it.  In  a  great  spec- 
tacular production  with  Situation  XXXI  as  the  basis,  it  is  conceivable  that  ten  or 
more  other  situations  might  be  used  in  combination  with  it  to  excellent  dramatic  advan- 
tage. Judging  its  value  according  to  the  usual  productions,  however,  its  possibilities 
are  limited. 

THIRTYSECOND  SITUATION— MISTAKEN  JEALOUSY. 

The  necessary  elements  of  this  situation  are  the  jealous  one,  the  object  of  whose 
possession  he  is  jealous,  the  supposed  accomplice,  the  cause  or  the  author  of  the  mistake. 

Perhaps  no  other  situation,  except  X,  "Abduction,"  has  been  used  so  repeatedly 
in  the  photoplay  as  this  one.  It  is  therefore  necessary  to  analyze  one's  use  of  it  very 
carefully  in  order  to  determine  its  effectiveness. 

A  (1) — The  Mistake  Originates  in  the  Suspicious  Mind  of  the  Jealous 
One. 

(2) — Mistaken  Jealousy  Aroused  by  a  Fatal  Chance. 

"Mistaken  Jealousy"  is  of  equal  value  in  drama  and  comedy,  and  for  that  very 
reason  the  writer  must  be  careful  to  make  his  story  definitely  the  one  thing  or  the  other. 
If,  for  example,  one  uses  it  in  a  dramatic  way,  but  allows  one  or  more  episodes  to  take 
a  satirical  or  comedic  turn,  the  entire  effort  will  be  an  ineffective  burlesque.  Again, 
therefore,  the  characterization  and  the  treatment  are  all-important.  In  general,  how- 
ever, it  is  far  safer  to  use  the  situation  in  comedy  and  comedy  drama  than  in  any  other 
way. 

The  usual  melodramatic  way  of  bringing  this  situation  to  a  logical  conclusion  — 
by  a  murder,  a  suicide,  or  a  divorce  or  separation  involving  enmity— is  very  hackneyed 

58 


and  unsatisfactory  in  the  photoplay,  because  it  is  the  easiest  and  least  dramatic  way  of 
devising  a  climax. 

The  dramatic  appeal  of  this  situation  will  require  its  presence  in  many  of  the 
photoplays  of  the  future,  but  in  its  use  there  must  be  novelty  and  distinction  of  treat- 
ment or  it  will  be  mere  imitation  of  the  dramatists  of  the  past. 

A  (3) — Mistaken  Jealousy  of  a  Love  Which  Is  Purely  Platonic. 

(4) — Baseless  Jealousy  Aroused  by  Malicious  Rumors. 

B  ( 1 )  — Jealousy  Suggested  by  a  Traitor  Who  Is  Moved  by  Hatred. 

(2) — The  Same  Case,  in  Which  the  Traitor  is  Moved  by  Self-interest. 

B  (3) — Tlie  Same  Case,  in  Which  the  Traitor  Is  Moved  by  Jealousy 
and  Self-Interest. 

C  (1) — Reciprocal  Jealousy  Suggested  to  Husbaud  und  Wife  by  Rival. 

(2) — Jealousy  Suggested  to  the  Husband  by  a  Dismissed  Suitor. 

(3) — Jealousy  Suggested  to  the  Husband  by  a  Woman  Who  Is  in  Love 
With  Him. 

(4) — Jealousy  Suggested  to  the  Wife  by  a  Scorned  Rival. 

(5) — Jealousy  Suggested  to  a  Happy  Lover  by  the  Deceived  Husband. 

THIRTY-THIRD  SITUATION— ERRONEOUS  JUDGMENT. 

Situation  XXXIII  should  be  considered  as  a  very  valuable  secondary  situation, 
one  by  which  the  horror  or  depression  of  some  of  the  others  may  be  relieved.  Any  kind 
of  mistaken  or  erroneous  judgment  may  be  understood  as  embraced  by  this  general 
grouping.  In  its  more  specific  cases,  its  chief  use  has  been  in  dramas  involving  the 
now  timeworn  idea  of  circumstantial  evidence,  false  accusation  against  the  hero,  or 
against  the  heroine,  which  in  most  cases  has  been  brought  to  a  happy  ending  by  the 
confession — usually  dying  confession — of  the  villain.  Because  this  situation  places  the 
entire  burden  of  responsibility  upon  the  much-abused  villain,  it  is  likely  to  be  unreal. 
The  general  idea  of  false  suspicion  falling  upon  one  innocent,  because  of  the  activity 
of  a  "villain,"  has  been  almost  exhausted  as  photoplay  material,  and  its  future  use  must 
be  logical,  plausible  and  convincing.  Especial  attention  must  be  paid  to  the  character- 
ization of  the  villain,  for  upon  him  the  situation  rests. 

A  ( 1 )  — False  Suspicion — of  a  Mistress. 

(2) — False  Suspicions  Aroused  by  a  Misunderstood  Attitude  of  a  Loved 
One. 

(3) — By  Indifference. 

B  (1) — False  Suspicions  Dran-n  Upon  One's  Self  to  Save  a  Friend. 

(2) — They  Fall  Upon  the  Innocent.  Upon  the  Innocent  Husband  of 
the  Guilty  One. 

(3)_The  Same  Case  as  (2),  but  in  Which  the  Innocent  Had  a  Guilty 
Intention;  in  Which  Case  the  Innocent  Believes  Himself  Guilty. 

(4)— A  Witness  to  the  Crime,  in  the  Interest  of  a  Loved  One,  Lets 
Accusation  Fall  Upon  the  Innocent. 

C  (])— The  Accusation  Is  Allowed  to  Fall  Upon  an  Enemy. 

(2) — The  Error  Is  Provoked  by  an  Enemy. 

(3)— The  Mistake  Is  Directed  Against  the  Victim  by  Her  Brother. 

D  (1)— False  Suspicion  Thrown  by  the  Real  Culprit  Upon  One  of  His 
Enemies. 

(2)— Thrown  by  the  Real  Culprit  Upon  the  Second  Victim  Against 
Whom  He  Has  Plotted  from  the  Beginning. 

(3) — False  Suspicion  Thrown  Upon  a  Rival. 

59 


(4) — Thrown  Upon  One  Innocent,  Because  He  Has  Refused  to  be  an 
Accomplice. 

(5) — Thrown  by  a  Deserted  Mistress  Upon  a  Lover  Who  Left  Her  Be- 
cause He  Would  Not  Deceive  Her  Husband. 

(6) — Struggle  to  Rehabilitate  One's  Self  and  to  Avenge  a  Judicial  Error 
Purposely  Caused. 

THIRTY-FOURTH  SITUATION— REMORSE. 

Situation  XXXIV  possesses  something  of  the  appeal  of  "Pardon"  and  "Self- 
Sacrifice  for  an  Ideal  or  for  Kindred,"  with  which  it  is  often  combined.  From  the 
photoplay  standpoint  it  is  of  secondarj'  value,  but  it  cannot  be  relied  upon  to  supply 
vitality  or  a  tense  emotional  conflict.  The  struggle  is  really  within  the  remorseful 
person,  and  it  is  therefore  a  less  objective  conflict  than  most  we  have  considered. 

A  (1) — Remorse  for  an  Unknown  Crime. 

(2)— Remorse  for  a  Parricide. 

(3)— Remorse  for  an  Assassination.     For  a  Judicial  Murder. 

(4) — Remorse  for  a  Murder  of  Husband  or  Wife. 

B  (1 ) — Remorse  for  a  Fault  of  Love. 

(2) — Remorse  for  an  Adultery. 

A  ( 1 )  and  B  ( 1 )  are  of  particular  interest,  but  the  other  subdivisions  involve  a 
preceding  kind  of  action  that  lacks  entertainment  value.  They  should  therefore  only 
be  used  when  the  action  that  leads  to  the  remorse  can  be  suggested  rather  than  shown 
objectively. 

There  is  an  intense  interest  in  the  characterization  of  a  remorseful  person,  but 
since  it  is  so  purely  subjective  it  can  usually  be  treated  more  effectively  in  the  short 
story  or  the  novel  than  in  a  dramatic  work.  The  writer  should  therefore  carefully 
consider  the  screen  value  of  the  characterization  before  incorporating  this  situation 
into  a  photoplay.  If  it  lacks  screen  value,  consider  it  from  the  viewpoint  of  other  forms 
of  fiction,  and  try  to  utilize  it  in  the  most  effective  way. 

THIRTY-FIFTH  SITUATION— RECOVERY  OF  A  LOST  ONE. 

This  is  the  situation  editors  meet  so  frequently  in  stories  of  stolen  children 
reunited  with  their  parents  after  many  years.  It  is  the  basis  of  many  Gypsy  tales, 
stories  of  the  Orient  in  which  the  child  is  reared  as  an  Oriental,  stories  of  revengeful 
incarceration,  and  similar  tales  of  intrigue.  Its  invariable  ending  comes  when  the 
mother  and  the  child  break  out  simultaneously  with  a  glad  cry:  "My  mother!"  "My 
child!"  Its  dramatic  value  has  been  exhausted  by  verj'  frequent  use,  and  it  is  usually 
so  dependent  upon  coincidence  that  it  fails  to  produce  a  genuine  dramatic  effect.  In 
the  majority  of  the  stories  submitted  involving  this  factor  the  authors  seem  to  feel  that 
the  mere  reunion  between  parents  and  children  is  sufficient  to  sway  an  audience. 
Unless,  however,  there  are  very  unusual  circumstances  in  the  lives  of  both  parents  and 
children,  its  effect  is  mere  mawkish  sentimentality.  If,  however,  the  situation  is  used 
in  a  relatively  minor  episode  of  a  plot  as  a  natural  part  of  an  otherwise  strong  story, 
there  is  no  vital  objection  to  it.  Only  when  it  forms  the  climax — for  which  it  is  mani- 
festly unsuited — does  it  become  hopeless. 

THIRTY-SIXTH  SITUATION— LOSS  OF  LOVED  ONES. 

A  ( 1 )  — Witnessing  the  Slaying  of  Kinsmen,  While  Powerless  to  Pre- 
vent It. 

(2) — Helping  to  Bring  Misfortune  Upon  One's  People  Tlirough  Pro- 
fessional Secrecy. 

B — Divining  the  Death  of  a  Loved  One. 

C — Learning  of  the  Death  of  a  Kinsman  or  Ally, 

60 


D — Relapse  Into  Primitive  Baseness,  Through  Despair  on  Learning  of 
the  Death  of  a  Loved  One, 

In  its  photoplay  uses  Situation  XXXVl  is  usually  related  to  the  Vllth,  "Falling 
Prey  to  Cruelty  or  Misfortune,"  as  the  result  of  the  loss  of  a  loved  one  who  is  at 
the  same  time  a  protector.  In  this  form  it  is  therefore  of  value  as  an  inceptive  situa- 
tion, but  it  does  not  form  a  vital  basis  for  a  photoplay.  It  forms  an  excellent  transition 
situation,  carrying  the  action  from  one  tense  moment  to  another,  and  is  therefore  fre- 
quently useful.  Used  in  improper  combinations,  or  in  cases  where  the  loss  of  a  loved 
one  and  its  concomitant  grief  are  exaggerated  or  drawn  out,  the  situation  is  ineffective 
and  without  value. 

SUMMARY  OF  SITUATIONS. 

The  reader  should  aim  to  familiarize  himself  with  the  contents  of  the  foregoing 
pages  in  order  to  be  capable  of  critical  analysis,  not  only  of  his  own  work  but  also  of 
produced  photoplays  and  published  stories.  A  thorough  acquaintance  with  the  situa- 
tions will  enable  the  photoplaywright  to  study  and  analyze  fiction  and  photoplays  in  a 
systematic  and  helpful  way. 

In  the  process  of  creation  analysis  invariably  precedes  construction.  The  more 
sound  and  comprehensive  one's  analytical  powers,  the  more  fecund  and  novel  will  be 
one's  work.  The  only  writers  who  are  "inspired"  are  those  who  have  a  sound  ana- 
lytical background,  who  have  thoroughly  saturated  themselves  in  literature  and  in  life. 
It  is  therefore  necessary  that  the  beginning  writer  acquire  some  standard  of  critical 
judgment  with  which  to  estimate  the  value  and  the  strength  of  current  productions 
and  of  his  own  work.  It  is  impossible  for  one  to  have  too  thorough  knowledge  of  the 
fundamental  thirty-six  situations,  for  such  knowledge  will  supply  the  writer  with 
critical  standards  and  with  an  analytical  method.  Study  the  preceding  pages  carefully, 
diligently,  and  endeavor  to  carry  the  knowledge  thus  gained  into  the  theatre  with  you. 

More  important  than  the  study  of  Situations,  however,  is  the  study  of  life.  Only 
from  an  acquaintance  with  the  life  of  which  one  desires  to  write  will  one  find  the 
inspiration  and  the  stimulus  for  creative  effort.  Develop  an  observing  attitude,  study- 
ing the  people  you  meet  and  know,  inventing  plots  about  them,  placing  them  in  likely 
and  dramatic  conflicts,  and  seeking  in  every  way  to  interpret  the  life  you  are  living. 
Even  while  you  are  in  the  midst  of  adventures  try  to  preserve  the  attitude  of  the  spec- 
tator. Learn  to  look  at  events  objectively.  Then  when  you  come  to  interpret  them 
you  will  place  them  objectively  before  the  spectator. 

Use  the  foregoing  lists  of  situations  as  a  reference  by  which  to  test  everj-thing  you 
write.  In  addition  to  the  examples  that  we  shall  now  consider,  strive  to  find  new 
examples  for  each  of  the  situations  and  its  subdivisions.  Whenever  you  view  a  photo- 
play or  read  a  short  story  endeavor  to  test  it  in  accordance  with  the  suggestions  already 
given.  Do  not  merely  be  content  with  placing  it  in  a  certain  category,  but  go  further 
and  analyze  its  theme,  its  characterization,  the  logic  of  its  plot,  its  dramatic  and  pic- 
torial effectiveness.  Take  your  profession  seriously  and  sincerely,  and  endeavor  to  be 
as  well  qualified  for  the  work  you  are  undertaking  as  a  lawyer  or  a  physician  or  an 
artist  is  qualified  for  his  profession. 

To  the  studious,  thoughtful  person  possessing  genuine  creative  ability  and  the 
desire  to  write,  the  photoplay  offers  a  fascinating  and  highly  remunerative  opportunity. 
But  it  does  not  supply  a  short-cut  to  quick  and  easy  success  for  the  lazy,  the  incompe- 
tent, or  the  unimaginative. 

Study,  Think,  Create! 


61 


PART  THREE 


EXAMPLES  OF  SITUATIONS  IN  PHOTOPLAYS. 

The  brief  synopses  of  recently  produced  photoplays  in  the  following  pages  are 
arranged  alphabetically,  according  to  the  initial  word  of  the  title.  The  limitations  of 
space  do  not  permit  the  publication  of  elaborate  or  detailed  synopses,  but  in  most  cases 
the  brief  synopses  will  illustrate  with  sufficient  clarity  the  use  of  the  situations  in 
question. 

The  photoplays  selected  as  examples  constitute  an  average  and  fairly  representative 
group.  They  are  chosen  for  the  purpose  of  illustrating  errors,  as  well  as  merits,  in 
construction  and  the  use  of  situations.  The  reader  should  therefore  not  compare  his 
own  work  favorably  with  some  of  the  stories  here  discussed  and  expect  a  ready  sale 
if  he  feels  that  his  work  is  as  good  as  that  produced.  The  editors  and  the  producers 
know  good  stories  when  they  read  them,  but  the  dearth  of  worth-while  material  some- 
times necessitates  inferior  productions. 

Remember  also  that  the  motion  picture  is  a  new  industry  and  that  it  is  making  \ast 
strides  in  advance.  Do  not  allow  yourself  to  be  easily  satisfied  with  your  own  work, 
simply  because  you  like  it  or  your  friends  like  it.  If  it  is  good  screen  mat°rial,  it  will 
sell.  We  say  this  positively,  for  the  Photoplay  Sales  Department  of  the  Palmer  Photo- 
play Corporation  has  found  all  of  the  editors  and  producers  eager  to  read  stories  that 
were  really  worth-while.  If  your  work  does  not  sell,  there  is  S(  mething  wrong  with  it, 
and  you  must  therefore  renew  your  analysis  and  endeavor  to  strengthen  the  weak- 
nesses. Do  not  put  all  of  your  eggs  in  one  basket.  When  you  have  created  a  story 
that  is  as  fine  as  you  can  possibly  write,  set  to  work  to  write  a  better  one. 

Once  you  are  satisfied  with  a  photoplay,  submit  it  for  sale,  but  do  not  sit  bai^k  aad 
wait  complacently  for  the  check.  The  creation  of  stories  is  your  work,  and  if  yOU 
will  keep  on  working  with  sincerity,  analysis  and  persistence  even  in  the  tace  ot  d's- 
heartening  rejections,  the  chances  are  you  will  win  out.  Do  not  give  up  until  vou 
have  definitely  proved  that  you  are  a  success  or  a  failure,  for  any  amount  of  hard 
work  will  be  amply  repaid  when  you  begin  to  sell  your  stories. 

In  considering  the  examples  analyze  the  combinations  of  situations  and  try  to  place 
yourself  in  the  position  of  the  author.  Endeavor  to  feel  as  he  felt  when  he  started  to 
write  the  story.  Test  its  purpose,  its  theme,  the  possible  inspiration  of  a  character  he 
happened  to  know,  and  try  to  determine  just  what  prompted  a  certain  author  to  write 
a  certain  story.  Then  endeavor  to  apply  the  same  critical  process  to  all  of  the  photo- 
plays you  view.  You  will  find  that  the  cultivation  of  such  a  method  will  sharfn 
your  wits  and  make  your  daily  experiences  more  interesting. 

Let  us  now  proceed  to  a  consideration  of  the  examples. 

"ALL  OF  A  SUDDEN  PEGGY." 
(Paramount-Artcraft  Production;  starring  Marguerite  Clark;  adapted  by  Edith 
Kennedy  from  the  play  by  Ernest  Denny;  directed  by  Walter  Edwards.) 

Synopsis. 

Peggy  and  her  mother,  the  ividow  of  a  noted  scientist,  visit  Anthony.  Peggy 
discovers  a  secret  love  betiveen  Anthony  and  her  mother,  so  heain\  to  Ux  things  for 
them.  She  learns  that  her  mother  won't  marry  as  long  as  she,  Peggy,  has  no  one  to 
look  out  for  her,  so  Peggy  pretends  to  elope.  She  visits  Jimmy,  a  friend  of  the  family, 
but  the  supposed  elopement  has  already  leaked  out  through  the  newspapers.     Jimmy 

65 


wishes  to  many  her  in  order  to  protect  her,  but  Peggy  refuses.  At  last  true  love 
asserts  itself  and  the  two  are  married,  thus  Peggy  becomes  the  bride  of  her  step- 
father's son. 

The  chief  asset  of  this  very  light  romantic  play  is  its  charm.  The  star  role  is 
especially  suited  to  the  grace  and  talent  of  Marguerite  Clark,  and  its  uncomplicated 
plot  furnishes  mild  entertainment.  Pegg>',  the  heroine  who  does  things  "all  of  a 
sudden,"  is  a  pleasing  ingenue  character,  and  the  plot  springs  almost  entirely  from 
the  characterization.  In  this  connection  it  is  well  to  remark  that  of  all  the  ingenue 
romances  submitted  by  beginning  writers,  practically  ninety  per  cent,  have  heroines 
named  either  Peggy  or  Betty.  Both  of  these  names  have  been  somewhat  overdone  and 
they  no  longer  possess  the  diminutive  connotation  they  once  had.  A  little  more  orig- 
inality in  naming  the  characters  of  a  play  will  often  lead  to  a  better  impression  upon 
the  reader. 

The  story  involves  Situations  XXVIII  ("Obstacles  to  Love"),  XXI  ("Self- 
Sacrifice  for  Kindred"),  I  and  II  ("Supplication"  and  "Deliverance")  and  XXXIII 
("Erroneous  Judgment"),  but  none  of  these  situations  is  developed  to  its  full  power. 

In  the  past  this  type  of  play,  with  the  action  centered  about  a  heroine  like  Peggy, 
has  been  very  popular.  A  number  of  stars  have  specialized  in  ingenue  roles,  but  the 
usual  situations  have  been  used  so  frequently  that  there  is  no  longer  so  great  a  demand 
for  such  stories.  The  photoplay  of  today  must  possess  more  than  a  simple,  sweet 
character  and  a  mild  plot ;  there  must  be  originality  in  both  character  and  plot  and  the 
story  must  possess  genuine  dramatic  structure. 

"ATONEMENT." 

(Produced  by  Humphrey  Pictures,  Inc.;  scenario  by  Geo.  Edwardes  Hall; 
directed  by  William  Humphrey.) 

Synopsis. 

To  the  keen  disappointment  of  Vincent  Carlton,  Laura  Hamilton  marries  his 
rival,  Theodore  Proctor.  A  year  or  so  elapses  and  happiness  reigns  in  the  Proctor 
home,  which  has  been  blessed  with  a  child.  Proctor  goes  to  a  cabaret  to  meet  his 
brother.  The  brother  tells  him  that  he  needs  some  thousands  of  dollars  for  a  few  days 
and  that  if  he  is  unable  to  borroiv  from  someone  else  Proctor  will  have  to  use  his  poiver 
as  president  of  a  bank  to  negotiate  the  loan.  Since  the  stocks  Proctor's  brother  has 
invested  in  are  not  considered  legal  security  for  a  bank  loan,  the  president  is  greatly 
perturbed.  While  the  brother  goes  out  to  see  the  other  prospective  lender  Theodore 
waits  in  the  dance  hall.  Next  Proctor  is  ousted  from  his  position  with  the  bank,  for 
the  loan  he  made  is  outside  of  sound  banking  practice.  His  luife  spurns  him  and  when 
he  departs  she  regrets  her  hasty  words  and  seeks  him,  but  it  is  too  late.  In  order  that 
Laura  may  be  free  to  marry  Vincent  Carlton,  Proctor  devises  a  ruse  whereby  he  is  con- 
sidered dead,  and  years  after  this  occurrence  he  returns  to  find  Laura  married  to 
Carlton.  His  identity  is  revealed  and  then  Laura  is  brought  up  on  a  charge  of  bigamy 
and  the  only  ivay  for  Proctor  to  save  her  from  disgrace  is  to  kill  himself,  and  he  is 
about  to  do  it;  when  he  wakes  up  and  finds  it  is  all  a  dream  and  that  he  ivill  not  have 
to  lend  his  brother  the  money. 

This  photoplay  is  announced  by  its  producers  as  an  adaptation  of  Tolstoi's  "The 
Living  Corpse,"  but  it  has  suffered  greatly  in  being  transferred  to  the  screeen.  Such 
experience  with  adaptations  of  good  novels  has  convinced  most  of  the  far-sighted  pro- 
ducers of  the  folly  of  trying  to  duplicate  a  real  work  of  literature  on  the  screen.  Only 
in  those  cases  where  the  original  is  suited  to  the  screen  can  the  translation  be  accom- 
plished effectively.  "The  Living  Corpse"  is  not  screen  material  in  any  sense,  and 
because  of  its  unsuitability  to  the  screen  it  was  found  necessary  to  give  it  the  con- 
venient but  illogical  "dream  ending."  In  the  screen  version,  lacking  the  Russian 
novelist's  depth  of  penetration  into  character,  the  plot  becomes  artificial  and  mechanical 
in  the  extreme;  and  it  deals  with  situations  and  incidents  of  a  most  unreal  and  sen- 
sational kind. 

65 


The  long  time  lapse  destroys  the  unity  of  the  action  and  leads  to  no  climax  of 
any  importance,  since  it  is  merely  a  repetition  of  the  Enoch  Arden  motif  of  a  sup- 
posedly dead  husband  returning  to  confront  his  wife  with  a  charge  of  bigamy.  Legally, 
of  course,  there  is  no  reason  for  the  charge  against  her,  and  so  the  very  premise  of  the 
story  becomes  false. 

Situation  II  ("Deliverance"),  VII  ("Falling  Prey  to  Cruelty  and  Misfortune"), 
XXXIII  ("Erroneous  Judgment"),  and  a  slight  element  of  XXXII  ("Mistaken 
Jealousy"),  form  the  plot  structure. 

It  will  be  observed  that  none  of  the  characters  is  completely  sympathetic  and  that 
the  conflict  between  tlie  members  of  the  dramatic  triad  is  not  sustained  on  a  single 
plane  of  interest.  Instead,  it  shifts  from  one  idea  to  another  in  such  a  way  that  it  is 
difficult  to  follow  the  story  and  no  definite  dramatic  objective  is  in  sight.  Because 
of  this  fundamental  lack  of  tension,  sustained  conflict  and  a  clearly  defined  objective, 
the  author  found  it  necessary  to  resort  to  the  dream  device  of  ending  his  story.  In 
doing  so  he  really  shirks  responsibility,  for  the  dream  ending  is  no  ending. 

"THE  AVALANCHE." 

( Artcraft  Production ;  starring  Elsie  Ferguson ;  based  on  the  story  by  Gertrude 
Atherton;  scenario  by  Ouida  Bergere;  directed  by  George  Fitzmaurice.) 

Synopsis. 

Helene  has  inherited  a  taste  for  gambling  and  her  mother  is  determined  that 
the  daughter  shall  be  raised  in  different  environments.  IVhen  the  child  becomes  a 
young  lady  and  escapes  from  the  convent  the  mother  sends  her  from  Europe  to  New 
York  City  to  become  the  ward  of  a  respected  friend.  The  young  girl  marries,  but 
becomes  lonesome  vjhen  her  husband  is  away  on  a  long  trip  and  visits  a  gambling  house 
where  she  loses  all  her  savings  and  pawns  her  jeivels. 

Her  mother  had  married  again  and  came  to  New  York  City.  Her  husband  was 
the  proprietor  of  this  same  gambling  house  and  the  mother  is  horrified  to  discover 
that  the  young  woman  pleading  so  dramatically  to  her  husband  for  more  time  on  her 
I,  O.  U.'s  is  her  own  daughter. 

It  is  at  this  point  that  many  of  the  very  heavy  dramatic  moments  occur.  There 
are  two  tragedies  and  some  intensely  thrilling  action. 

When  Helene  discovers  that  the  wife  of  the  gambler  is  her  mother  and  that  she 
has  made  the  supreme  sacrifice  to  save  her  daughter  she  seeks  her  own  husband,  who 
has  returned,  and  confesses  her  great  loss  at  gambling,  also  telling  him  of  the  inherited 
trait  zvhich  she  knoius  has  now  disappeared  entirely,  washed  by  the  blood  of  her  mother 
and  cleansed  by  her  own  bitter  experience. 

The  first  and  most  obvious  comment  to  be  made  on  this  production  is  the  fact  that 
it  was  a  dual  role,  providing  Miss  Ferguson  with  opportunities  for  acting  emotional 
roles.  The  star  played  both  mother  and  daughter  in  the  picture,  and  the  meeting 
between  them  in  the  gambling  den  was  genuine  drama.  The  lack  of  rigorous  unity 
will  be  observed,  also,  but  it  should  be  noted  that  the  really  dramatic  part  of  the  story 
was  almost  consecutive  in  time  and  took  place  in  a  narrow  area.  The  preliminary 
action  was  scattered  and  diffuse,  but  it  was  allowable  because  it  led  to  a  striking  climax. 
The  story  would  have  been  more  dramatic,  however,  if  it  had  been  more  unified. 

In  the  heroine's  passion  for  gambling,  we  find  a  definite  example  of  Situation 
XXII  ("All  Sacrificed  for  a  Passion").  In  this  case  the  inceptive  situation  is  rather 
implausible,  for  we  are  told  that  the  heroine  has  inherited  her  taste  for  gambling. 
Gambling  is  not  a  hereditable  vice,  and  in  the  original  story  Mrs.  Atherton  probably 
motivated  this  element  by  sounder  psychology'.  But  the  necessity  of  translating  ideas 
into  definite,  objective  action  required  such  a  change  in  the  photoplay.  The  theme 
has  been  used  before,  in  similar  gambling  stories,  and  it  is  rather  hackneyed.  Only 
exceptional  characterization  and  a  strikingly  novel  plot  will  make  such  a  story  salable 
soon  again. 

67 


The  XXVIIth  Situation  ("Discovery  of  the  Dishonor  of  a  Loved  One")  plays  a 
minor  part  in  the  story,  when  the  mother  finds  her  daughter  in  a  predicament  she  had 
long  tried  to  shield  her  from. 

But  by  far  the  most  important,  and  indeed  the  climactic  situation,  is  the  XXIst 
("Self-Sacrifice  for  Kindred"),  for  the  mother  gives  her  life  to  save  her  child. 

The  element  of  "Pardon"  enters  into  the  story  when  the  heroine  pleads  to  be  for- 
given by  her  husband,  and  that  of  "Supplication"  is  apparent  in  her  pleas  to  her 
mother's  husband. 

The  tragic  note  in  the  story,  the  fact  that  the  two  most  important  situations  are 
used  in  trite  ways,  the  dual  role,  and  its  lack  of  unity,  all  combine  to  make  it  a  bad 
example  for  the  photoplayvvright  to  imitate,  but  one  from  which  he  can  learn  a  great 
deal.  On  the  other  hand,  it  was  an  excellent  vehicle  for  Miss  Ferguson,  and  its  pro- 
duction was  technically  a  thing  of  great  beauty. 

"BEFORE  THE  WHITE  MAN  CAME." 

(Produced  by  Northwestern  Film  Corporation;  story  by  William  E.  Wing; 
directed  by  John  E.  Maple.) 

Synopsis. 

The  Wolf,  chief  of  an  opposing  hand  of  Indians,  seeks  the  hand  of  Kaweena. 
He  is  repulsed  and  demands  that  six  of  the  bravest  warriors  shall  battle  with  six  of  his 
braves  for  the  hand  of  the  girl.  Big  Elk,  also  in  love  with  the  girl,  takes  up  the  chal- 
lenge. Big  Elk  is  victorious.  In  revenge  The  Wolf  declares  war.  Big  Elk  at  the 
head  of  the  ivarriors  goes  to  battle.  While  they  are  gone  The  Wolf  enters  the  village 
of  Big  Elk,  scatters  the  old  men  and  women  and  steals  Kaweena.  Big  Elk  takes  up 
the  chase.  Kaweena  escapes  from  The  Wolf,  who  is  later  killed  by  Big  Elk.  Kaweena 
falls  into  the  hands  of  the  opposing  tribe,  and  being  considered  crazy,  she  is  held  to 
be  in  touch  with  the  great  spirits.  She  is  accused  of  poisoning  the  spring  and  is  about 
to  be  burned  to  death  when  Big  Elk  goes  to  her  rescue. 

This  story  is  in  some  respects  a  unique  production,  for  not  only  is  it  an  Indian 
story,  but  all  the  members  of  the  cast  are  full-blooded  Indians.  The  picture  was 
directed  with  the  aid  of  interpreters  and  is  of  value  educationally  because  of  its  accu- 
racy of  detail.  The  story  naturally  is  of  secondary  importance  in  such  a  case,  and  here 
we  have  a  simple,  direct  and  dramatic  love  story  presented  with  no  unnecessary  com- 
plications and  with  characterization  in  keeping  with  the  actors. 

The  story  is  based  upon  Situations  XXIV  ("Rivalry  of  Superior  and  Inferior"), 
III  ("Crime  Pursued  by  Vengeance"),  IX  ("Daring  Enterprise"),  X  ("Abduction"), 
and  II  ("Deliverance").  The  very  wealth  of  situations  leads  to  swift  and  interesting 
plot  complications  and  provides  a  strong,  though  by  no  means  novel,  plot. 

The  story  is,  of  course,  a  special  case  and  there  is  virtually  no  demand  for  photo- 
plays that  deal  with  Indian  characters  or  Indian  life.  Years  ago  that  subject  was 
used  very  frequently,  but  it  has  been  overdone  and  it  no  longer  makes  a  wide  popular 
appeal  except  as  a  novelty. 

"BEHIND  THE  DOOR." 

(Thomas  H.  Ince  production;  starring  Hobart  Bosworth;  written  by  Gouverneur 
Morris;  scenario  by  Luther  Reed;  directed  by  Irvin  Willat.) 

Synopsis. 

Oscar  Krug,  veteran  seaman,  established  as  taxidermist  in  a  small  totvn,  secretly 
weds  Alice  Morse.  He  joins  the  U.  S.  Navy  and  is  placed  in  command  of  a  ship  in  the 
merchant  marine.  Alice,  in  the  guise  of  a  Red  Cross  nurse,  boards  her  husband's  vessel. 
It  is  torpedoed,  sinks,  Krug  and  his  wife  drift  away  in  a  boat.  They  are  sighted  by  a 
German  submarine,  whose  commander,  Brandt,  seizes  the  woman  and  leaves  Krug  to 

68 


the  mercy  of  the  waves.  He  is  picked  up  by  an  American  craft  and  given  command  of 
another  ship.  He  disables  a  German  U-boat  and  captures  Brandt,  who  does  not  recog- 
nize him.  Brandt  boastin/jly  describes  Alice's  awful  fate.  Kritg  reveals  himulf  and 
behind  the  locked  door  of  his  cabin  tortures  Brandt  to  death. 

Whatever  one  may  think  of  the  theme  of  revenge  and  hate  on  which  this  story 
is  founded,  one  cannot  deny  the  dramatic  power  and  effectiveness  of  the  play.  Whether 
it  entertains  or  not,  it  certainly  achieves  the  effect  all  drama  strives  for — to  reach  the 
heart  and  the  mind  of  the  spectator.  There  have  been  few  stage  or  screen  plays  so 
well  constructed  dramatically  that  they  have  made  a  more  convincing  impression  upon 
the  beholder.  Oscar  Krug  is  a  character  with  only  one  idea — Vengeance!  He  is  never 
out  of  character,  and  every  incident  in  the  plot  adds  cumulatively  to  the  clima.x,  in 
which  he  literally  skins  his  betrayer  alive.  The  very  wonderful  suggestion,  by  means 
of  shadows,  of  this  climax  in  the  actual  production  is  an  artistic  accomplishment  of  rare 
excellence.  The  story  is  simple,  direct  and  unified.  There  are  no  side  issues  or  sub- 
plots, and  every  step  of  the  plot  leads  closer  to  the  thrilling  and  horrible  climax.  It 
is  to  be  noted  that  the  producer  was  too  subtle  to  allow  the  climax  to  be  simply  terrify- 
ing; he  does  not  show  the  tortured,  lifeless  man,  but  he  suggests  very  clearly  just  what 
has  happened.  The  action  is  restrained  and  slow  in  movement,  but  every  gesture  of 
the  star  means  something  and  leads  ever  closer  to  the  tremendous  scene  "behind  the 
door."  Disregarding  the  theme  for  the  present,  the  play  may  be  considered  as  a  very 
unusual  example  of  a  powerful,  but  simple,  story  organized  in  a  most  dramatic  way. 
Simply  from  the  standpoint  of  technique  it  is  a  masterpiece  of  drama. 

It  should  be  observed,  however,  that  the  theme  of  vengeance  is  very  carefully 
developed  and  that  the  central  character  is  made  wholly  sympathetic  throughout  the 
story.  We  see  him  first  as  a  kind  of  outcast  among  the  people  of  a  small  town,  the 
one  thing  in  his  life  his  love  for  Alice  Morse.  He  is  attacked  viciously  in  the  town 
and  he  is  compelled  to  fight ;  in  the  early  sequences  we  see  him  as  a  very  strong,  very 
admirable,  and,  to  the  girl,  very  gentle  hero.  The  romance  is  carefully  developed, 
and  then — on  the  very  eve  of  the  fulfillment  of  the  marriage,  when  it  seems  that 
happiness  lies  in  store  for  them — his  wife  is  stolen  from  him  by  a  brute  and  driven  to  an 
awful  fate.  Then  we  are  prepared  for  the  idea  of  a  terrible  vengeance,  for  the  char- 
acter has  our  complete  sympathy  and  we  almost  rise  in  our  seats  to  help  him  seek  out 
the  brute.  It  will  be  seen  that  in  no  other  way  than  by  the  careful  development  of 
romance  and  sympathy  could  the  situation  be  used  in  all  its  terrifying  grimness.  And 
after  the  climax,  from  which  we  recoil  in  horror,  the  central  character,  broken  in  grief, 
again  wins  our  sympathy,  when  he  says,  hopelessly,  "But  that  doesn't  bring  her  back — 
that  doesn't  bring  her  back!" 

The  situation  is  simply  "Crime  Pursued  by  Vengeance"  (III),  but  it  is  perhaps 
the  most  dramatic  use  of  that  situation  the  screen  has  seen.  In  general  it  is  a  situation 
to  be  avoided,  to  be  used  only  in  a  very  unusual  and  different  manner,  but  if  you  feel 
that  vou  must  employ  the  situation,  endeavor  to  use  it  with  the  same  economy  and  the 
same  brilliant  characterization  as  the  author  of  "Behind  the  Door." 

"BONDS  OF  HONOR." 

(Produced  by  Haworth ;  starring  Sessue  Hayakawa;  story  and  scenario  by  Clara 
Whipple;  directed  by  William  Worthington.) 

Synopsis. 
In  Japan  Count  Sakurai  lives  ivith  his  twin  sons,  Yamashiro  and  Sadao.  The 
two  young  men  are  extremely  unlike  in  temperament,  Yamashiro  being  sober  and 
industrious  and  helping  his  father  in  the  preparation  of  important  fortification  plans, 
while  Sadao  spends  his  time  in  riotous  living.  Paul  Berkowitz  frequents  the  gambling 
dens  of  Tokio  and  meets  Sadao.  He  learns  who  he  is  and  immediately  contrives  to 
urge  him  on  in  his  gambling.  Sadao  becomes  in  debt  to  Berkowitz  and  when  he  is 
unable  to  pay  his  notes,  Berkowitz  demands  that  he  secure  copies  of  the  fortification 

69 


plans.  The  fact  that  Berkowitz  is  an  agent  of  the  German  government  influences 
Sadao  not  in  the  least.  Fear  of  exposure  prompts  him  to  go  through  with  the  nefarious 
scheme,  but  after  he  has  copied  the  plans  and  is  replacing  them  his  father  and  brother 
apprehend  him. 

Honorable  Japanese  that  they  arc,  they  expect  him  to  commit  hara-kari,  but  he 
flees  the  house,  joins  Berkowitz  and  his  female  companion,  Olga,  and  departs  for 
Vladivostok.  Here  they  attempt  to  get  more  information  from  him,  but  are  unsuc- 
cessful. Yamashiro  vows  to  find  his  brother  and  bring  him  to  his  senses.  It  is  Toku- 
Ko  who  first  hears  from  him.  She  is  loved  by  both  brothers,  but  has  always  preferred 
Sadao.  She  goes  to  him,  and  finding  him  in  a  drunken  condition,  sends  for  Yamashiro. 
He  journeys  to  Vladivostok,  changes  places  with  his  brother,  apprehends  and  captures 
the  spies  as  they  are  about  to  kill  him,  and  prevents  any  more  secrets  from  leaking  out. 
Sadao's  sense  of  honor  at  last  asserts  itself  and  he  takes  his  life  in  the  prescribed  Jap- 
anese fashion  while  Toku-Ko  learns  to  love  Yamashiro. 

This  story  is  another  example  of  the  dual  role,  and  in  this  case  the  star  represents 
twin  brothers.  The  element  of  chance  in  the  basic  conception  of  all  dual  role  stories 
lessens  the  dramatic  value  of  this  one,  but  if  the  premise  is  granted  the  story  progresses 
with  logic  and  dramatic  tension. 

The  basic  situation  is  the  XlVth  ("Rivalry  of  Kinsmen"),  which  develops  into 
XIII  ("Enmity  of  Kinsmen"),  touches  XXVII  ("Discovery  of  the  Dishonor  of  a 
Loved  One"),  and  in  the  climax  becomes  a  definite  case  of  Situation  IX  ("Daring 
Enterprise"). 

The  %var  background  of  the  story  was  timely  and  interesting  when  it  was  pro- 
duced, but  is,  of  course,  no  longer  desirable.  The  nobility  of  one  brother  and  the 
despicable  weakness  of  the  other  alTords  an  excellent  opportunity  for  dramatic  contrast, 
but  it  is  by  no  means  a  novel  or  an  especially  subtle  theme.  Here  again  the  story  is 
especially  suitable  to  photoplay  production  because  it  gives  the  star  an  opportunity  for 
varied  and  difficult  acting,  which  is  the  chief  reason  for  the  use  of  the  dual  role.  In 
other  words,  it  is  an  easier  task  to  supply  the  necessary  dramatic  elements  in  a  dual 
role  story  than  in  any  other  type.  For  that  very  reason,  however,  the  subject  matter 
has  been  exhausted  and  is  no  longer  in  demand. 

Obsen'e  the  excellent  use  of  dramatic  recoil  and  the  partial  use  of  the  element 
of  pursuit  in  the  latter  part  of  the  story.  Granting  the  premise,  the  climax  is  logical 
and  natural,  and  in  a  careful  production  would  occur  with  seeming  inevitability. 
While  a  sounder  premise  is  desirable,  the  next  best  thing  is  logical  development  of  the 
material  used. 

It  is  well  to  note  that  in  the  use  of  Situation  IX  ("Daring  Enterprise"),  a  much 
more  striking  and  climactic  effect  is  gained  than  through  the  use  of  any  other.  Many 
writers,  for  example,  would  have  ended  the  story  with  XXI  ("Self-Sacrifice  for 
Kindred"),  with  IV  ("Vengeance  Taken  for  Kindred  Upon  Kindred"),  or  with 
XXXIII  ("Erroneous  Judgment"),  but  the  effect  would  have  been  much  less  dramatic 
and  effective  than  it  now  is.  Try  to  reconstruct  the  story,  using  the  situations  sug- 
gested here,  endeavoring  to  analyze  the  author's  probable  reason  for  selecting 
Situation  IX. 

"BUCHANAN'S  WIFE." 

Produced  by  Fox ;  starring  Virginia  Pearson ;  from  the  novel  by  Justus  Miles 
Forman;  directed  by  Charles  Brabin.) 

Synopsis. 

Beatrix  hat  been  forced  into  a  marriage  with  Herbert  Buchanan  by  her  father 
when  in  reality  she  loved  Harry  Faring  all  the  while.  The  marriage  occurred  during 
Faring's  stay  in  Europe,  and  on  his  return  home  he  ivrites  Beatrix  a  note  expressing  his 
surprise  and  sorrow  at  her  choice.     Buchanan  sees  the  note  and,  with  some  fiendish 

70 


purpose  in  view,  sends  him  an  invitation  to  attend  a  reception  at  their  home.  He 
watches  Beatrix  and  Faring  closely  on  the  night  of  the  affair  and  sees  plainly  that  they 
are  in  love.  Influenced  by  wine,  he  openly  insults  Beatrix  at  the  dinner  table  and 
orders  Faring  from  the  house. 

Disgraced  and  friendless,  Buchanan  plans  suicide.  He  is  interrupted  by  the  ap- 
pearance of  a  tramp,  Kansas.  IVith  this  man  he  decides  to  disappear.  The  last  seen 
of  him  is  when  Kansas  strikes  him  a  terrific  blow  on  the  head.  He  falls  over  a  cliff. 
Beatrix  learns  that  her  husband  will  not  be  considered  dead  by  law  until  five  years 
have  passed,  inasmuch  as  his  body  has  not  been  found.  She  and  Faring  remain  apart 
for  a  time,  but  then,  unable  to  stay  away  from  him  longer,  Beatrix  identifies  an 
unknown  body  as  that  of  Buchanan's.     Soon  after  they  are  married. 

Then  Kansas  appears  leading  a  white-haired,  stooped,  babyish  man — Buchanan. 
Kansas  plans  to  blackmail  Beatrix,  but  instead  she  tells  all  to  Faring.  He  goes  in 
search  of  the  tivo  and  hears  Kansas's  story— as  to  how  he  rescued  Buchanan  after  the 
fight  and  found  him  demented.  In  a  climax  of  great  dramatic  power,  Buchanan  dies, 
just  after  counselling  Kansas  to  leave  Beatrix  and  Faring  unmolested.  And  soon  after 
this  there  is  nothing  to  stand  between  the  two  who  love  each  other. 

The  average  beginning  photoplaywright,  in  writing  this  story,  would  be  apt  to 
restore  Buchanan's  lost  memory  by  some  kind  of  miraculous  mental  shock.  The  story 
is  of  especial  value  as  an  example  because  it  involves  loss  of  memory,  or  amnesia,  which 
in  itself  is  a  very  time-worn  plot  idea,  and  one  that  should  generally  be  avoided.  But 
in  this  case  the  idea  is  used  in  a  logical  and  dramatic  manner,  for  Buchanan  loses  his 
memory  as  the  result  of  a  fight,  and  does  not  again  regain  it.  To  cause  a  character  to 
suffer  a  loss,  or  a  lapse,  of  memory,  merely  to  get  him  out  of  the  way,  and  then  to 
restore  his  memory  when  he  is  again  necessary  to  the  dramatic  action  is  a  device  that 
is  frci'iuently  employed  by  inexpert  writers.  The  subject  has,  therefore,  lost  its  fresli- 
ness,  and  in  this  case  its  chief  appeal  lies  in  the  pathetic  characterization  of  Buchanan. 

Buchanan's  experience  comes  under  Situation  VI  ("Disaster"),  while  Beatri,x's 
marriage  to  him  when  she  loves  another  is  definitely  a  subdivision  of  XXI  ("Self- 
Sacrifice  for  Kindred").  The  supposed  death  of  Buchanan  is  a  case  of  XXXIII 
("Erroneous  Judgment").  All  of  these  specific  plot  elements  are  quite  lacking  in 
novelty,  but  the  construction  of  the  story  is  so  plausible  and  so  dramatic  and  the  char- 
acterization is  so  good  that  it  makes  a  deep  and  rather  novel  impression.  Here  again 
is  an  illustration  of  the  importance  of  characterization  and  dramatic  construction. 

This  is  one  example  of  a  popular  novel  that  was  sufficiently  dramatic  to  be  suitable 
for  photoplay  development. 

"BURNT  WINGS." 

(Universal  Production;  story  by  Bayard  Veiller;  scenario  by  Hal  Hoadley; 
directed  by  Christy  Cabanne.) 

Synopsis. 

Joan,  a  pretty  country  girl,  elopes  ivith  Ned,  a  struggling  artist.  In  Paris,  when 
her  husband  is  starving.  Joan  sells  herself  to  a  man  in  order  to  obtain  money  for  her 
husband's  recovery.  Later  when  Ned  is  a  success  he  begins  to  neglect  his  wife.  Helen, 
the  daughter  of  a  wealthy  art  collector,  falls  in  love  with  Ned,  and  does  her  best  to 
win  him  from  his  wife.  Helen's  father  happens  to  be  the  man  who  "bought"  Joan  in 
Paris,  and  when  he  learns  that  his  daughter's  happiness  depends  upon  Ned's  divorce 
he  threatens  to  expose  Joan.  Ned  finally  comes  to  his  senses  and  realizes  all  that  his 
wife  has  suffered  through  him.  He  overhears  Helen  and  her  father  attempting  to  bribe 
Joan  and  he  overhears  the  tremendous  sacrifice  his  wife  made  for  him.  Fie  begs  his 
wife's  forgiveness  and  returns  to  her. 

This  story  is  used  as  an  example  because  it  tells  the  very  conventional  story  of 
the  struggling  artist,  the  sacrificing  wife,  and  the  change  of  heart  which  comes  to  the 

71 


man  of  success.  The  same  theme,  treated  in  essentially  the  same  way,  has  been  used 
many  times  before  in  fiction  and  on  the  screen,  and  it  is  now  thoroughly  time-worn. 
Only  very  exceptional  characterization  and  a  most  unusual  development  of  the  plot 
could  make  it  effective  again. 

The  very  premise  of  the  story  is  unsound  because  of  the  lack  of  sympathy  in  the 
three  characters.  The  wife  who  makes  a  sacrifice  of  this  kind  cannot  win  our  sym- 
pathy in  a  real  degree  because  of  her  weakness,  the  artist  is  unsympathetic  throughout, 
and  the  other  woman — although  more  human  and  understandable  than  the  central 
characters — cannot  be  considered  as  a  person  of  charm.  In  the  characterization,  there- 
fore, lies  the  inherent  weakness  that  is  clearly  revealed  in  the  plot  structure. 

The  first  situation  of  the  play  is  XXI  ("Self-Sacrific  for  a  Loved  One"),  but  in 
this  case  there  is  little  nobility  in  the  sacrifice  because  of  the  nature  of  the  sacrifice. 
The  condition  that  might  present  itself  in  which  the  only  possible  way  for  a  woman  to 
save  her  husband  is  to  sell  herself  to  another  man  is  almost  inconceivable,  and  one  feels 
that  if  the  girl  had  been  clever  or  strong  or  intelligent  she  could  have  found  a  less 
unpleasant  way  out.  For  dramatic  purposes  it  would  have  been  much  better  to  have 
driven  her  to  theft,  for  in  that  way  the  author  would  have  avoided  the  tawdry  and 
sensational  theme  he  has  here  blundered  upon. 

The  entrance  of  the  man  who  had  "bought"  Joan  as  the  father  of  the  other  woman 
Is  so  accidental  that  it  becomes  simply  a  melodramatic  trick.  It  is  as  though  the 
author,  tiring  of  the  creative  process,  had  said  to  himself:  "It's  a  small  world  after  all 
— why  not  bring  them  all  together  again?"  It  is  difficult  to  believe  that  the  same 
man  wrote  this  play  and  "Within  the  Law,"  for  in  the  latter  he  displayed  great 
technical  facility.  But  even  the  best  craftsmen  make  such  errors  occasionally;  every- 
thing one  writes  cannot  be  a  masterpiece. 

The  frequency  with  which  this  plot  is  submitted  to  the  studios  makes  it  a  very 
good  example  of  what  to  avoid. 

"THE  CALL  OF  THE  SOUL" 

(Produced  by  Fox;  starring  Gladys  Brockwell;  story  by  Julia  Burnham ;  scenario 
by  Denison  Clift;  directed  by  Edward  J.  LeSaint.) 

Synopsis. 

Barbara  Deming,  a  nurse,  and  Dr.  Clayton,  visit  an  island  on  a  picnic  and  are 
marooned  there.  The  roivboat  is  carried  aiuay  by  the  tide.  Clayton  builds  a  fire  in  a 
cave,  but  until  Barbara  falls  and  meets  with  a  slight  injury  she  will  not  enter.  As 
Clayton  is  reviving  her  he  is  struck  by  her  beauty  and  appeal  and  passionately  kisses 
her.  When  morning  comes  he  has  a  thousand  pardons  to  offer  for  tvhat  he  has  done, 
but  the  very  sight  of  him  is  repugnant  to  her.  Later  they  are  rescued  and  soon  after- 
ivards  Clayton  leaves  to  join  the  Arctic  expedition  of  Neil  McClintock.  IVhile  he 
is  away  Barbara  becomes  a  mother.  She  puts  the  child  in  charge  of  a  woman  she 
trusts.     She  loves  the  boy  dearly. 

McClintock  breaks  down  on  the  trip  and  returns,  leaving  Clayton  in  charge. 
Barbara  is  assigned  as  his  nurse  and  he  falls  in  love  ivith  her.  She  loves  him  but  thinks 
him  too  hard.  But  iti  time  she  learns  that  he  is  not  so  rough  as  his  exterior  icould 
indicate  and  she  marries  him.  Later  Clayton  returns  and  is  invited  to  the  McClintock 
home  to  rest  up.  One  night  Barbara  is  asked  to  the  bedside  of  her  child.  He  is  sick 
with  a  fever,  Clayton  attends  him  and  says  there  is  little  hope.  But  when  Barbara  tells 
the  boy  that  she  is  his  mother  he  brightens  up  and  regains  his  health.  Clayton,  still 
stricken  with  remorse  and  knoiving  that  McClintock  st/spects  something,  tells  him  the 
whole  story,  exonerating  Barbara  of  all  blame  and  adding  that  she  has  never  loved  any 
man  but  her  husband.    And  McClintock  takes  his  wife  and  son  back  to  his  home. 

This  rather  improbable  and  artificial  story  involves  Situation  XVII  ("Fatal 
Imprudence"),   some   of   the   sensational   quality    of   XV    ("Murderous   Adultery"), 

72 


XXVII  ("Discovery  of  the  Dishonor  of  a  Loved  One"),  and  XXXIV  ("Remorse"). 
Despite  this  wealth  of  dramatic  material,  the  stoiy  is  founded  upon  an  unsuitable  and 
largely  accidental  theme,  it  lacks  a  deep  realistic  appeal  to  the  emotional  sympathy  of 
the  axerage  spectator,  and  it  is  mechanical  and  artificial.  It  would  be  difficult  for  any 
writer  to  treat  the  plot  elements  of  such  a  story  in  a  really  distinctive  and  novel  way. 
The  unsatisfactory  ending  is  especially  worthy  of  comment,  for  the  average  spectator 
might  not  believe  that  McClintock  would  readily  accept  Barbara's  love  and  her  son 
after  Clayton's  disclosure. 

The  basic  weakness  lies  in  the  twisted  relationship  of  Barbara  becoming  the  mother 
of  one  man's  son  and  loving  another.  This  relationship  is  fortuitious  and  rather 
unsound.  The  story  would  have  been  a  great  deal  more  appealing,  though  perhaps 
no  more  novel,  if  in  the  end  Barbara  and  Clayton  had  been  brought  together. 

It  is  very  unwise  to  attempt  stories  of  this  type,  for  the  salacious  theme  and  the 
lack  of  true  appeal  in  such  a  group  of  characters  will  usually  render  such  stories 
unsalable. 

The  rather  long  time  lapse  is  not  really  a  break  in  the  unity  of  action,  for  the 
drama  really  stops  with  Clayton's  trip  on  the  expedition  and  definitely  begins  again  with 
McClintock's  return.  The  fact  that  these  two  men  should  be  so  intimately  associated 
and  should  thus  be  involved  in  the  life  of  Barbara  is  also  a  definite  coincidence,  which 
destroys  the  effect  of  inevitability  a  photoplay  should  produce. 

It  is  interesting  to  note  that  one  of  the  reviewers  for  a  trade  journal  said  of  this 
picture:  "A  'wronged  girl'  story,  with  few  moments  that  appeal."  Such  a  comment 
is  sufficient  indication  of  the  lack  of  dramatic  value  in  the  play. 

Merely  for  practice,  it  would  be  a  good  plan  to  try  to  invent  a  totally  different 
plot  incorporating  the  same  situational  elements.  Try  to  draw  three  plausible  char- 
acters, and  to  develop  a  logical  and  strong  story  involving  these  same  factors.  Even 
though  it  happens  to  be  a  strong  story  it  would  be  unwise  to  submit  it,  for  the  theme  is 
essentially  hackneyed. 

"THE  CAREER  OF  KATHERINE  BUSH." 

(Produced  by  Paramount-Artcraft ;  starring  Catherine  Calvert;  from  the  novel 
by  Elinor  Glyn ;  scenario  by  Kathryn  Stuart;  directed  by  R.  William  Neil.) 

Synopsis. 

Katherine  Bush  is  not  satisfied  with  life  and  considers  her  oivn  hard-working  Eng- 
lish family  as  dull  and  unrefined.  She  aspires  to  the  heights  in  society  and  argues  to 
herself  that  she  does  not  care  what  means  she  may  adopt  to  ivin  her  desires. 

And  she  meets  a  well-known  young  nobleman  in  London  who  took  advantage  of 
her  high  social  ambitions,  but  after  a  few  days  she  was  disillusioned  and  knew  that  she 
had  sinned  without  advancing  one  iota  towards  the  higher  strata  of  society. 

The  beautiful  young  girl  then  secured  a  position  as  social  secretary  to  Lady  Gar- 
ribardine,  and  is  then  surrounded  by  the  environments  which  she  craved.  But  there 
was  a  certain  young  duke  tuhom  she  very  much  admired.  And  as  affairs  developed  it 
seeiris  that  the  same  young  duke  learned  to  love  her  and  finally  proposes  marriage.  He 
was  a  member  of  the  British  House  of  Lords  and  all  her  early  ambitions  seemed  about 
to   be  realized. 

Then  came  the  great  problem.  She  found  that  she  actually  loved  him.  But  she 
finally  tvon  the  great  victory  by  confessing  to  him  her  early  and  only  sin.  And  he 
scorns  her  and  goes  away.  But  he  returns  to  forgive,  and  both  happiness  and  affluence 
are  the  rewards  of  Katherine  Bush. 

This  photoplay  incorporates  a  fairly  realistic  group  of  situations,  though  the 
ending  of  the  story  does  not,  perhaps,  sustain  the  realism  of  the  opening  episodes.  In 
the  first  place  we  have  the  revolt  of  Katherine  against  the  conditions  of  her  life,  Situ- 

73 


ation  Vni  ("Revolt"),  and  subdivision  B  of  Situation  XXX  ("Rebellious  Ambi- 
tion") ;  then  Situation  XVII  ("Fatal  Imprudence"),  appears  with  XXXIII  ("Erro- 
neous Judgment"),  in  her  affair  with  the  young  nobleman;  then  something  of  Situation 
XXIX  ("An  Enemy  Loved"),  in  her  affair  with  the  Duke,  which  merges  with  another 
form  of  XXXIII.  Finally,  XXVII  ("Discovery  of  the  Dishonor  of  a  Loved  One"), 
and  the  element  of  Pardon  close  the  storj'.  An  essentially  simple  story  of  ambition 
leading  on  into  danger,  the  discovery  that  the  ambition  is  of  less  value  than  a  thing 
hitherto  ignored,  and  the  happiness  that  comes  of  confession  and  the  establishment  of 
■  new  values.  The  story  possesses  human  interest,  and  the  central  character  is  wholly 
sympathetic  even  in  her  first  illicit  affair.  It  touches  at  this  point  on  the  risque,  but 
the  purity  of  the  real  love  interest  makes  that  element  allowable  as  a  contrast. 

The  story  is  perhaps  better  suited  to  the  narrative  form  than  to  the  drama,  for 
it  really  depends  upon  the  central  characterization  and  upon  the  brilliance  of'  the 
background— in  this  case,  fashionable  London.  But  the  simplicity  and  the  straight- 
forwardness of  the  action,  in  spite  of  its  lack  of  a  profound  theme  and  a  tensely 
dramatic  plot,  make  it  a  pleasing  photoplay. 

In  studying  this  example  it  is  well  to  observe  that  in  narrative  an  author  often 
touches  lightly  upon  a  number  of  situations,  but  that  many  of  them  are  relatively 
undeveloped.  If,  on  the  other  hand,  the  same  story  had  been  originally  written  as  a 
photoplay,  at  least  three  of  the  situations  mentioned  above  would  have  been  developed 
in  as  tense  and  dramatic  a  way  as  possible. 

"CAROLYN  OF  THE  CORNERS." 

(Produced  by  Anderson-Brunton;  released  by  Pathe ;  starring  Bessie  Love;  story 
by  Ruth  Belmore  Endicott ;  scenario  by  Frank  S.  Beresford ;  directed  by  Robert 
Thornby. ) 

Synopsis. 

Carolyn  May  Cameron,  after  her  parents  have  been  reported  lost  at  sea,  is  sent 
to  live  ivith  her  uncle,  Joe  Stagg,  the  storekeeper  of  a  little  village  in  Maine.  Stagg 
is  a  bachelor,  having  quarreled  years  before  with  the  woman  he  loved,  Amanda  Par- 
hw.  "Aunt  Rose"  is  his  housekeeper.  Stagg  doesn't  understand  the  liule  girl  who 
enters  his  life  along  with  her  big  dog.  Prince,  but  in  time,  guided  by  Aunt  Rose,  he 
learns  to  love  her  and  to  find  companionship  in  her.  Carolyn  enjoys  the  days  in  the 
little  village  and  attends  the  little  school  with  the  other  children.  And  it  is  mainly 
through  her  efforts  that  the  ancient  quarrel  between  Stagg  and  Amanda  is  smoothed 
over,  at  least  in  some  small  measure. 

When  spring  comes  Amanda  takes  Carolyn  into  an  old  lumber  camp,  there  to 
visit  one  of  her  friends  who  is  bedridden  ivith  rheumatism.  While  they  are  there, 
a  forest  fire  breaks  out  and  Carolyn  and  the  women  are  trapped  in  the  flames.  They 
take  refuge  in  the  spring  and  wait  until  Stagg  arrives  to  the  rescue.  This  element 
ef  danger  proves  the  last  straw  which  breaks  down  the  reserve  between  Amanda  and 
Stagg  and  past  quarrels  are  forgotten.  Aunt  Rose  suggests  that  the  newly-married 
couple  will  not  be  wanting  company  any  more,  so  Carolyn  takes  her  last  money  and 
buys  a  ticket  to  New  York,  returning  to  the  still  vacant  Harlem  fiat  of  her  parents. 

Amanda  and  Stagg  follow,  of  course — having  postponed  their  honeymoon  to 
Niagara  Falls.  The  next  morning  they  find  her  crying  her  eyes  out  for  her  father 
and  mother.  And  then,  ivonder  of  ivonders,  her  parents  enter.  They  had  been  saved 
from  the  sinking  vessel  and  had  taken  refuge  on  a  distant  island  and  had  only  now 
reached  civilization  again.     So  Carolyn  is  once  more  happy. 

This  story  serves  very  well  to  illustrate  two  situations  which  we  have  already 
considered  as  rather  difficult,  XXXV  and  XXXVI,  ("The  Recovery  and  the  Loss 
of  Loved  Ones").  In  Carolyn's  loss  of  her  parents,  we  have  a  very  good  example 
of  the  use  of  that  situation  as  the  beginning  of  a  story.     She   then   "falls  prey   to 


cruelty  and  misfortune"  in  a  mild  and  somewhat  amusing  way.  Situation  XXVIII, 
("Obstacles  to  Love"),  is  used  in  the  relations  between  Stagg  and  Amanda.  The 
danger  that  threatens  Amanda  and  Carolyn  in  the  fire  is  dependent  upon  an  accident, 
and  is  very  timeworn.  But  it  gives  rise  to  an  effective  dramatic  situation  in  Stagg's 
rescue  of  them,  which  involves  IX,  ("Daring  Enterprise"),  and  II,  ("Deliverance"). 
Finally,  Situation  XXXV,  brings  the  story  to  a  pleasing  and  surprising,  though  some- 
what implausible,  conclusion.  The  fact  that  ships  w-ere  being  torpedoed  at  the  time 
the  picture  was  produced  partially  justifies  the  use  of  this  ending,  and  in  its  human 
appeal  it  has  the  effect  of  sending  the  audience  home  satisfied. 

Aside  from  the  slight  dependence  upon  accidents,  this  story  is  human  and  dramatic, 
and  the  characterizations  are  in  excellent  contrast.  It  might  therefore  be  considered 
as  an  eighty  per  cent,  photoplay.  The  characterization  happened  to '  be  convincing 
enough  to  carry  the  weak  links  in  the  plot  chain,  and  the  skill  of  production  helped 
to  make  the  fortuitous  happenings  plausible.  The  author,  however,  might  have  made 
it  a  much  stronger  story  by  careful  analysis  and  more  thorough  revision. 

"COMMON  CLAY." 

(Produced  by  Astra;  starring  Fannie  Ward;  from  the  stage  play  by  Cleves  Kink- 
head;  scenario  by  Ouida  Bergere;  directed  by  George  Fitzmaurice.) 

Synopsis. 

Contrasting  her  surroundings  of  sordidness  and  poverty  with  the  constant  spec- 
tacle of  affluence  she  sees  all  around  her,  Ellen  Neal,  a  department  store  ivorker, 
becomes  dissatisfied.  Jennie  Peters,  once  a  co-worker  in  the  store  and  now  a  cabaret 
singer,  induces  her  to  visit  a  cabaret  ivith  other  of  her  friends.  Arthur  Coakley, 
a  young  waster,  attacks  her,  but  before  harm  is  done,  the  police  raid  the  place.  Sub- 
sequently, Ellen  decides  to  quit  the  gay  life  and  secures  a  position  as  maid  in  the 
Fullerton  household.  Coakley  is  ivell  received  in  this  family,  but  his  advances  toward 
Ellen  are  regularly  repulsed. 

Before  long,  Ellen  finds  herself  very  much  in  love  luith  young  Hugh  Fullerton, 
and  before  he  departs  for  ivar  she  gives  herself  to  him.  His  haughty  mother  inter- 
cepts all  his  letters  to  her,  and  after  a  time  Ellen  is  obliged  to  leave  her  position  t» 
care  for  her  child.  Mrs.  Neal  eventually  persuades  her  to  go  to  the  Fullertons  and 
demand  her  rights.  Fullerton  will  not  believe  her  story,  so  she  hires  an  attorney. 
Judge  Filson,  an  old  friend  of  the  Fullertons,  takes  their  case.  During  the  pre- 
liminary and  private  hearing,  it  develops  that  Mrs.  Neal  is  not  Ellen's  mother;  that 
she  had  brought  her  up  after  her  own  mother  had  committed  suicide  over  a  case 
similar  to  Ellen's.  fVhen  Mrs.  Neal  mentions  the  woman's  name.  Judge  Filson  real- 
izes that  he  is  the  man;  Ellen's  father. 

He  takes  charge  of  the  girl,  and  by  the  time  that  Hugh  returns,  has  made  her 
his  daughter  in  the  manner  as  well  as  in  the  name.  Hugh  is  disconsolate  over  the 
absence  of  the  girl  and  vows  to  find  her,  despite  his  parents'  protests.  And  when  at 
last  Judge  Filson  arranges  a  meeting  between  his  daughter  and  Hugh,  happiness  comes 
for  both  of  the  young  people. 

This  story  starts  with  Situation  XXIX,  ("Ambition"),  and  the  heroine,  as  in 
another  example  we  have  considered,  then  "falls  prey  to  cruelty  and  misfortune," 
(Situation  VII),  and  is  "delivered"  by  the  hero  (II).  The  situations  giving  real 
strength  and  vitality  to  the  story  are,  however,  XXVIII,  ("Obstacles  to  Love"),  XXI, 
(Self-sacrifice  for  Kindred"),  and  XXXV,  ("Recovery  of  a  Loved  One").  To  a 
degree  Situation  XXXIII,  ("Erroneous  Judgment"),  is  also  used,  in  the  Fullertons' 
distrust  of  Ellen. 

The  idea  of  lovers  being  estranged  by  parental  opposition,  with  one  of  the  parents 
intercepting  the  letters,  is,  of  course,  very  hackneyed,  and  it  is  allowable  m  this  case 
only  because  it  is  relatively  unimportant  and  because  the  wartime  condition  and  the 
characters  make  it  plausible. 

75 


The  distinction  and  novelty  of  this  story,  as  well  as  its  dramatic  strength,  lies 
in  the  effective  use  of  Situation  XXI,  in  two  definite  and  consecutive  incidents.  At 
the  moment  of  highest  tension,  Judge  Filson  suddenly  realizes  that  Ellen  is  his  daugh- 
ter, and  that  she  is  willing  to  make  a  supreme  sacrifice,  as  her  mother  did  before  her, 
for  the  sake  of  the  man  she  loves.  This  is  a  very  effective,  though  rather  accidental, 
bit  of  drama.  It  is  made  plausible  early  in  the  story  by  the  subtle  suggestion  of  some 
kind  of  an  attraction  between  Ellen  and  Judge  Filson.  The  theme  of  the  story 
involves  rather  a  delicate  subject,  in  the  relations  between  Hugh  and  Ellen,  but  since 
both  of  the  characters  are  noble  and  appealing,  and  since  they  are  deeply  in  love, 
the  average  spectator  is  neither  shocked  nor  appalled  by  their  illicit  affair.  Love  and 
sympathy  have  a  way  of  justifying  almost  everything,  but  there  is  no  reason  for 
dealing  with  themes  of  this  kind  merely  because  of  their  supposed  appeal  to  certain 
audiences. 

"THE  CRAVING." 

(Produced  by  Universal;  starring  Francis  Ford;  story  and  scenario  by  Francis 
Ford;  directed  by  Francis  Ford  and  Jack  Ford.) 

Synopsis. 

Carroll  Wayles,  a  scientist,  has  developed  a  formula  for  a  powerful  explosive. 
He  is  particularly  careful  of  it,  as  it  gives  promise  of  proving  of  value  to  his  gov- 
ernment. There  arrives  in  America  Ala  Kasarib,  a  scientist  from  East  India,  anxious 
to  get  possession  of  the  formula  for  his  own  selfish  ends.  With  him  is  Beulah,  an 
English  girl,  whose  father,  a  British  army  officer,  left  her  in  charge  of  Ala  Kasarib 
when  he  died.  Ala  Kasarib  makes  a  point  of  cultivating  Wayles'  acquaintance  and 
finds  this  an  easy  task  indeed,  luhen  he  discovers  the  American's  affection  for  his  ward. 

One  day  Ala  Kasarib  invites  Wayles  to  take  a  drink,  but  is  refused.  Wayles 
then  tells  the  East  Indian  that  he  once  was  a  victim  of  alcohol  and  only  by  the 
utmost  force  of  will  did  he  raise  himself  from  the  gutter,  where  it  had  laid  him.  In 
a  series  of  graphic  descriptions  he  makes  this  point  clear  to  his  auditor. 

Unable  to  secure  possession  of  the  formula,  Ala  Kasarib  determines  to  conquer 
Wayles  through  a  battle  of  wills.  In  his  laboratory  he  sets  to  iiork  on  him,  and  a 
terrific  struggle  ensues  betiveen  the  minds  of  the  two  men — a  struggle  as  fierce  as 
any  physical  combat  could  possibly  be.  Wayles  is  defeated  and  before  he  has  the 
opportunity  to  regain  himself,  Ala  Kasarib  has  made  off  with  the  precious  formula. 
Wayles  then  loses  all  control  of  himself,  takes  to  drinking  and  finally,  as  a  means 
of  regeneration,  reaches  the  battlefields  of  Europe.  Afterwards  when  he  regains  his 
old  self  and  realizes  what  has  happened,  he  goes  to  Ala  Kasarib  and  a  fight  takes 
place.  The  East  Indian  is  killed  by  the  explosion  of  the  material  prepared  from  the 
formula.  His  self-respect  restored,  Wayles  then  feels  free  to  ask  Beulah  to  become 
his  wife. 

This  story  is  an  interesting  example  of  Situations  XII  ("Obtaining"),  XXII 
("All  Sacrificed  for  a  Passion"),  and  III,  ("Crime  Pursued  by  Vengeance").  It 
involves  a  number  of  plot  elements  that  are  distinctly  timeworn,  especially  the  desire 
of  one  character  to  secure  the  formula  and  his  theft  of  it,  and  the  purely  extraneous 
regeneration  of  the  leading  character  on  the  battlefields  of  Europe,  which  destroys 
the  unity  of  the  story  and  takes  it  into  a  sphere  of  conflict  utterly  foreign  to  the  con- 
flict of  wills  on  which  it  is  based.  In  the  use  of  recoil  at  the  end  of  the  story,  when 
the  East  Indian  is  killed  by  the  very  explosive  the  formula  of  which  he  tried  to  steal, 
there  is  a  rather  melodramatic  and  implausible  element.  If  the  story  could  have  been 
maintained  on  the  genuinely  dramatic  plane  of  the  conflict  of  wills  between  the  two 
men,  it  would  indeed  have  been  a  very  strong  and  convincing  story. 

It  will  be  observed,  however,  that  the  uninteresting  and  undramatic  technicalities 
of  the  story  are  kept  in  the  background  and  that  the  human  drama  is  emphasized. 
Many  writers  have  undertaken  similar  themes,  and  have  made  the  error  of  allowing 

76 


technical  and  scientific  backgrounds  to  become  a  vital  part  of  the  story.  The  audience 
wants  first  of  all  to  be  entertained,  and  you  must  deal  with  the  common  language  of 
the  emotions.  Technical  backgrounds  are  rarely  of  pictorial  interest,  and  they  detract 
from  the  human  interest  of  stories. 

"CROOK  OF  DREAMS." 

(Produced  by  World;  starring  Louise  Hufi;  story  by  Forest  Halsey;  scenario  by 
George  D.  Proctor;  directed  by  Oscar  Apfel.) 

Synopsis. 

Constance's  life  with  the  low  family  on  the  East  Side,  liith  whom  she  lives,  is 
far  from  happy.  Sam,  her  brother,  is  a  crook,  her  mother  is  a  receiver  of  stolen  goods, 
while  Pete,  an  old  man  who  lives  with  them,  though  he  has  a  kindly  feeling  toward 
Constance,  is  also  of  the  crook  gentry.  One  day  the  police  raid  the  place  and  while 
Constance  and  Sam  escape,  the  others  are  captured  and  cast  in  jail.  Sam,  acting  on 
a  suggestion  previously  dropped  by  Pete,  tries  to  pass  Constance  off  as  Constance 
kFaldron,  a  long  missing  daughter  of  a  wealthy  widow,  whose  mental  state  is  grotving 
serious  because  of  this  loss.  Mrs.  IValdron's  companion  sees  through  the  deception 
immediately,  but  takes  Constance  home  with  her,  nevertheless,  as  the  mother  is  near 
insanity. 

Constance  acts  like  a  tonic  on  Airs.  Waldron's  nerves  and  before  long  she  is 
living  happily  again.  Charles  Hadivin,  a  young  laivyer,  falls  in  love  with  Constance, 
and  she  tvith  him.  Hoivevcr,  in  time,  Mrs.  Waldron's  companion,  Laura  Campbell, 
grows  jealous  of  the  riches  shoivered  on  Constance  and  tells  her  that  she  has  really 
stolen  them  all  from  the  real  heir.  And  so  Constance  lives  in  a  continual  state  of 
fear.  In  time,  Pete  and  the  old  woman  are  released  from  the  jail.  Sam  brings  the 
woman  to  Constance,  intending  to  blackmail  her,  but  instead,  Mrs.  IValdron  recog- 
nizes the  ii'oman  as  her  nurse-maid  of  years  ago,  the  one  ivho  stole  her  baby.  This  is 
the  last  bit  of  evidence  that  proves  Constance  is  the  real  Constance  Waldron,  and  so 
all  ends  happily  for  the  "little  Crook." 

In  "Crook  of  Dreams"  the  star  is  provided  with  a  very  appealing  role,  for  she 
is  shown  in  the  very  beginning  of  the  story  in  Situation  VII,  ("Falling  Prey  to  Cruelty 
and  Misfortune").  The  story  is  another  example  of  Situations  XXXV  and  XXXVI, 
and  the  XXXVIth  is  in  this  case  a  close  approach  to  Situation  XVI  ("Madness"). 
Situation  XXXIII,  ("Erroneous  Judgment"),  plays  an  important  part  in  the  story, 
as  in  most  comedy  dramas,  and  to  a  degree  we  have  the  element  of  rivalry  between 
a  superior  and  an  inferior,  in  the  relations  between  Constance  and  Laura.  While  all 
of  the  separate  plot  elements  are  in  themselves  timeworn,  the  author  had  devised  a 
story  full  of  suspense  and  human  interest.  The  fact  that  it  is  treated  as  a  comedy 
drama  makes  many  otherwise  implausible  and  trite  elements  allowable.  If,  for  exam- 
ple, the  reunion  between  Mrs.  Waldron  and  Constance  had  been  simply  the  simul- 
taneous cry  of  recognition:  "My  mother!"  "My  Child!",  it  would  have  been  com- 
monplace drama.  The  comedic  contrasts  of  character,  together  with  the  poignance 
of  Constance's  afEection  for  her  unknown  mother,  constitute  entertainment  of  a  iiigh 
order.  In  this  case,  as  usually  with  comedy  drama,  the  treatment  and  the  characteriza- 
tion is  more  important  than  the  situational  basis  of  the  play.  There  is,  of  course, 
an  element  of  chance  in  the  fact  that  the  old  woman  had  been  Mrs.  Waldron's  nurse- 
maid, but  this  is  plausibly  motivated  by  the  arrest  of  the  old  woman  and  the  ignor- 
ance of  Sam  concerning  the  real  identity  of  the  heroine. 

The  story  is  a  good  example  of  old  material  used  in  an  effective  manner,  and 
should  be  studied  as  such.  It  will  be  worth  while  for  the  photoplaywright  to  prac- 
tice the  construction  of  a  story  dealing  with  similar  situations,  working  it  out  in  an 
entirely  different  but  equally  effective  way. 

77 


"THE  CUP  OF  FURY." 

(Eminent  Authors-Goldwyn  Production;  story  by  Rupert  Hughes;  directed  by  T. 
Hayes  Hunter.) 

Synopsis. 

Mamise  is  a  true  American,  although  she  has  become  the  protegee  of  Sir  Joseph 
Webling,  a  German  spy  in  England,  and  through  him  is  involved  in  a  spy  plot,  though 
herself  innocent.  She  is  alloiced  to  go  free  after  making  a  promise  to  Scotland  Yard. 
She  returns  to  this  country  shortly  after  the  entry  of  America  into  the  war.  Under 
the  conditions  society  seems  irksome  to  her  and  she  applies  to  Davidge,  an  ardent 
suitor,  for  a  place  in  his  ship-building  yards.  He  attempts  to  induce  her  to  accept  an 
office  position,  but  Alamise  has  her  heart  set  on  being  an  essential  part  of  war  work. 
She  dons  overalls  and  a  jumper  and  joins  the  riveting  gang.  While  engaged  in  the 
yards  she  learns  valuable  information  regarding  the  plans  of  the  Hun.  JVith  Davidge's 
help  she  defeats  the  plot.     The  picture  fades  on  the  pair's  confession  of  love. 

This  story  opens  in  an  interesting  way  with  a  form  of  Situation  XXXHI, 
("Erroneous  Judgment"),  combined  with  VII,  ("FaUing  Prey  to  Cruelty  and  Mis- 
fortune"). The  heroine  is  introduced  as  a  sympathetic  character,  placed  in  a  very 
serious  predicament.  As  the  plot  develops,  however,  it  rapidly  loses  interest  and 
becomes  artificial,  being  largely  dependent  upon  coincidence  and  convenient  accidents. 
In  the  end  it  descends  almost  to  the  level  of  the  serial,  involving  Situation  III,  sub- 
division C,  ("Professional  Pursuit  of  Criminals").  The  climax  is  a  thrilling  and 
melodramatic  accident,  having  little  to  do  with  the  theme  or  the  characterization, 
and  used  simply  for  the  sake  of  its  physical  thrill.  During  the  excitement  engendered 
by  the  war,  the  patriotic  appeal  of  the  story  was  sufficient  to  make  it  interesting,  but 
upon  analysis  it  is  seen  to  be  weak,  artificial  and  unreal. 

We  are  commenting  here  upon  the  photoplay  rather  than  upon  Mr.  Hughes' 
novel.  He  is  a  skilled  writer  and  in  the  novel  he  developed  the  action  and  the  char- 
acters so  carefully  that  they  were  convincing,  at  least  for  the  time  being.  But  as  we 
have  said  before,  the  screen  play  requires  a  greater  degree  of  logic  and  authenticity  and 
lifelikeness  than  the  stage  play  or  the  novel.  It  is  more  difficult  to  create  the  illusion 
of  reality  in  the  photographic  medium  than  in  the  others,  and  therefore  greater  care 
must  be  exercised  in  the  selection  of  plot  material  and  in  its  development.  The  tech- 
nical tricks  of  the  novelist  will  be  of  little  value  before  the  truthful  camera,  and  there- 
fore a  screen  play  must  be  founded  upon  a  sound  basis  of  characterization  and  theme. 

"THE  CYCLONE." 

(Fox  Production;  starring  Tom  Mix;  story  by  Col.  Tod  Hunter  Marigold; 
scenario  by  J.  Anthony  Roach;  directed  by  Clifl  Smith.) 

Synopsis. 

Sergeant  Tim  Ryerson,  of  the  Northwest  Mounted  Police,  is  commissioned  to 
round  tip  a  gang  of  smugglers.  The  man  who  was  sent  out  before  him  met  his  death. 
Tim  makes  his  headquarters  at  the  Sturgis  ranch  and  has  happy  moments  with  Sylvia 
Sturgis  to  whom  he  is  engaged.  He  becomes  suspicious  of  the  ranch  foreman,  Baird, 
and  catches  him  smuggling  Chinamen  in  ivith  the  cattle.  Baird  escapes  and,  fleeing 
to  the  Sturgis  ranch,  attacks  Sturgis  and  Sylvia.  Tim  arrives  on  the  scene,  but  Baird 
leaves  him  for  dead  and  runs  away  with  Sylvia.  When  he  regains  consciousness,  Tim 
locates  Baird  at  a  certain  Chinaman's  headquarters.  He  jumps  his  horse  through  a 
skylight  and  rounds  up  Baird  and  the  other  smugglers  as  well  as  rescuing  Sylvia. 
Baird  receives  his  just  deserts,  and  Sylvia  and  Tim  are  left  to  their  love-making. 

The  value  of  this  production  as  an  entertaining  photoplay  does  not  depend  upon 
the  plot  of  the  story,  which  is  basically  trite,  but  upon  the  unusual  treatment  and 
especially  the  development  of  thrilling  stunts  of  horsemanship  for  the  star  to  perform. 

78 


It  is  a  simple  and  convenient  plot  on  which  to  build  Tom  Mix's  unusual  tricks.  The 
basic  situation,  as  in  many  Western  and  Northwestern  melodramas,  is  "Abduction," 
(X),  with  which  is  combined,  as  in  practically  all  stories  of  the  Northwest  Mounted 
Police,  "Crime  Pursued  by  Vengeance,"  (III),  in  the  professional  pursuit  of  crim- 
inals. It  is  of  value  as  an  example  of  a  timeworn  and  hackneyed  plot  which  was 
made  thrilling  snd  entertaining  by  the  invention  of  a  number  of  unusual  feats  of 
heroism.  One  forgets  the  simplicity  and  triteness  of  the  plot  in  marvelling  at  the 
star's  agility. 

But  most  beginning  writers,  in  selecting  the  exhausted  locale  of  the  Northwest 
and  in  writing  of  the  Mounted  Police,  tell  just  as  simple  and  hackneyed  stories  and 
fail  to  develop  the  incidental  action  in  a  new  and  effective  way.  Even  the  oldest  of 
plots,  providing  they  possess  dramatic  strength  and  sympathetic  appeal,  can  be  made 
entertaining  by  clever  treatment.  But  if  there  is  no  novelty  in  the  treatment,  the 
triteness  stands  out  unrelieved. 

There  is  relatively  less  demand  for  melodramatic  "thrillers"  of  this  kind  than 
there  was  a  few  years  ago,  and  the  tendency  of  the  producers  is  in  the  direction  of 
more  human  and  realistic  plays.  But  if  an  author  has  the  experience  and  the  material 
for  a  play  of  this  type,  he  should  make  every  effort  to  distinguish  it  in  swift  and 
unusual  action,  and  in  sympathetic  characterization,  even  though  the  basic  situations 
are  in  themselves  trite. 

"THE  DANGER  ZONE." 

(Produced  by  Fox;  starring  Madlaine  Traverse;  story  by  Marshall  Bruce  Ben- 
nington; scenario  by  Denison  Clift  and  Adrian  Johnson;  directed  by  Frank  Beal.) 

Synopsis. 

Lola  Dtiprc,  a  great  opera  singer,  weds  Senator  Fitzmaurice  without  revealing 
her  past  life,  in  ivhich  Philip  Whitney,  a  good-for-nothing,  figured  prominently.  Whit- 
ney dejnands  money  from  her  or  threatens  exposure,  and  for  a  time  Lola  accedes  to  his 
demands.  Whitney  makes  love  to  Fitzmaurice's  daughter,  Marie,  but  is  luarned 
off  by  Lola.  Despite  her  he  continues  his  advances  toiiard  the  girl  and  wins  her 
affection.  They  plan  to  elope.  On  the  night  of  a  reception,  they  are  aiuaiting 
Marie's  appearance.  Lola  goes  to  her  room  in  search  of  her,  and  while  she  is  there, 
Whitney  comes  in  and  attacks  her.  A  furious  struggle  ensues,  in  which  the  man 
is  killed. 

Lola  leaves  the  room  and  returns  to  the  reception.  Marie  finds  Whitney's  body 
on  the  floor  and  is  horror-struck.  And  it  so  happens  that  a  guest  discovers  her 
bending  over  the  body  with  a  dagger  in  her  hand.  Lola,  houever,  frees  her  from  all 
suspicion  by  telling  the  truth  about  the  murder.  She  is  brought  to  trial,  and,  though 
she  confesses  to  the  murder  before  the  jury,  it  acquits  her  on  the  plea  that  "a  teaman's 
honor  is  her  life."  She  returns  to  her  home  and  she  and  Fitzmaurice  begin  a  new 
life  azvay  from  the  shadow  of  Whitney. 

This  story  is  a  frankly  sensational  melodrama,  and  one  calculated  to  make  an 
appeal  to  a  certain  kind  of  audience.  It  is  basically  unreal  in  its  exaggerated  -situa- 
tions and  in  its  dependence  upon  coincidence.  And  it  deals  with  a  theme  that  should 
be  carefully  avoided,  in  writing  for  the  general  motion  picture  producers. 

The  three  situations  of  importance  in  the  story  are  the  XXIst,  ("Self-sacrifice 
for  Kindred")  ;  the  XXVIIth,  ("The  Discovery  of  the  Dishonor  of  a  Loved  One")  ; 
and  the  XXXIIIrd,  ("Erroneous  Judgment").  The  last  named  situation  is  used  in 
a  very  fortuitous  and  hackneyed  manner,  in  the  incident  wherein  the  girl  is  found 
bending  over  the  body  of  Whitney  with  the  dagger  in  her  hand,  just  after  her  step- 
mother had  killed  him.  This  same  incident  has  been  used  so  very  often  that  what- 
ever suspense-value  it  once  possessed  has  been  thoroughly  dissipated. 

79 


The  court-room  climax  involves  the  situations  of  "Supplication"  and  "Deliver- 
ance," also  used  in  a  trite  and  no  longer  effective  way.  So  many  photoplays  have 
been  produced  with  court-room  climaxes,  in  which  the  hero  or  heroine  is  exonerated 
at  the  last  moment,  that  there  is  no  longer  any  novelty  or  dramatic  value  in  the  idea. 
It  is  well,  therefore,  to  avoid  such  sensational  and  melodramatic  plots  and  to  con- 
centrate one's  attention  upon  sounder  and  more  appealing  ideas. 

"A  DAY'S  PLEASURE." 

(First  National  Comedy  in  Two  Reels ;  produced,  written  and  directed  by  Charlie 
Chaplin;  starring  Charlie  Chaplin.) 

Synopsis. 
This  Chaplin  comedy  begins  icith  that  hero  starting  off  in  a  flivver  ivith  his  screen 
family,  consisting  of  friend  wife  and  two  boys,  ivith  the  intention  of  spending  a  happy 
day  at  the  seaside.  At  the  outset  the  venerable  Ford  balks  badly  when  cranked,  and 
does  a  rickety  dance  before  starting  off  on  its  journey,  a  dance  which  outshimmies 
the  original  shimmy  in  point  of  frantic  vibration. 

Once  aboard  the  boat  the  comedian  and  the  rest  of  the  passengers  suffer  from 
seasickness,  ivhich  does  not  prevent  him  from  becoming  involved  in  combat  with  a 
big  husky,  whom  he  defeats  by  methods  entirely  his  oivn.  A  negro  jazz  band  is  in 
evidence,  the  members  of  which  ivilt  under  the  seesaw  motion,  the  trombone  player 
inflicting  tortures  upon  Charlie  until  he  chucks  the  offending  instrument  overboard. 
When  the  flivver  reaches  port,  the  family  travels  bumpily  along  until  a  street  corner 
is  approached,  where  the  upsetting  of  a  caldron  of  tar  causes  confusion.  The  traffic 
cops  are  mired  in  the  tar,  the  flivver  breaks  loose  and  the  Chaplins  ride  off  triumphantly. 

We  have  included  this  slapstick  comedy  in  order  to  indicate  one  form  of  the 
photoplay  for  which  there  is  no  longer  much  demand.  The  producers  of  this  type  of 
play — Chaplin,  Arbuckle,  Sennett,  Fox  Sunshine,  etc. — either  write  their  own  material 
or  engage  "gag"  experts  to  concoct  "stories."  Most  slapstick  comedies  are  mere 
sequences  of  incidents,  many  of  them  impossible,  and  all  of  them  extremely  improbable. 
The  situation,  in  the  correct  sense  of  that  word,  seldom  appears  in  such  comedies, 
and  where  situations  are  not  needed  the  author  is  not  needed. 

Many  beginning  photoplaywrights,  having  viewed  comedies  of  this  type,  feel  that 
there  should  be  a  market  for  them.  In  the  Palmer  Plan  Handbook,  the  difference 
between  slapstick  comedy  of  incident  and  situation  comedy  has  been  clearly  set  forth, 
and  the  writer  who  is  endeavoring  to  sell  to  the  comedy  market  should  follow  the  sug- 
gestions given  and  devote  his  time  and  thought  to  situation  comedies. 

In  a  story  of  this  kind  almost  any  amusing  incident  might  be  included,  for  there 
is  no  plot  pattern  and  no  definite  dramatic  objective  to  be  attained.  All  that  is 
required  is  sufficient  fun  for  two  reels,  and  the  more  ludicrous  it  can  be,  the  better 
will  be  the  comedy.  It  requires  a  very  special  kind  of  imagination  and  a  thorough 
knowledge  of  comedy  to  be  able  to  invent  "gags"  consistently,  and  the  average  writer 
who  attempts  slapstick  without  a  thorough  knowledge  of  the  camera  simply  repeats 
what  has  been  exhausted  in  the  past. 

We  would  advise  all  beginning  photoplaywrights  to  eschew  this  type  of  story, 
both  because  there  is  no  market  and  because  of  the  great  difficulty  of  developing 
genuine  technical  skiU  without  practise  in  the  use  of  situations. 

"DEADLINE  AT  ELEVEN." 

( Vitagraph  production  ;  starring  Corinne  Griffith ;  written  by  Ruth  Byers ;  scenario 
by  Lucien  Hubbard;  directed  by  George  Favvcett.) 

Synopsis. 

Helen  Stevens  obtains  a  job  as  reporter  on  a  New  York  morning  paper.  She  is 
befriended  by  Jack  Rati  son,  "star"  neius-gatherer,  who  is  brilliant  but  dissipated.  Helen 

80 


exercises  good  influence  upon  him  and  they  become  engaged.  One  night  Jack  gets 
intoxicated,  his  mind  is  a  blank  as  to  what  occurred,  but  in  the  morning  he  is  accused 
of  murder,  his  pocket  knife  being  found  beside  the  body  of  a  dead  ivoman.  Helen 
tries  to  solve  the  mystery  before  the  paper  goes  to  press.  She  finds  the  guilty  man 
about  to  sail  for  Porto  Rico,  and  by  a  clever  stratagem,  brings  the  real  facts  to  light 
and  saves  her  lover. 

In  the  past  there  have  been  many  stories  of  newspaper  life  produced  as  photo- 
plays, and  "Deadline  at  Eleven"  serves  as  a  good  example  of  the  usual  type.  It  con- 
tains the  familiar  romance  between  the  star  reporter  and  the  heroine,  the  false  accusa- 
tion of  murder  against  the  hero,  the  girl's  successful  efforts  to  save  him,  etc.  Its 
appeal  is  romantic  and  melodramatic,  but  in  the  actual  production  a  good  deal  of 
suspense  v.'as  developed  as  the  result  of  the  rather  artificial  mystery  and  the  use  of 
Situation  XXXIII,  ("Erroneous  Judgment"). 

_  In  addition.  Situation  II,  ("Deliverance"),  XII,  ("Obtaining"),  and  III,  ("Pro- 
fessional Pursuit  of  Criminals"),  are  employed  in  the  plot,  which  is  distinguished  not 
by  its  novelty,  but  rather  by  the  direct  and  simple  appeal  it  makes  to  our  emotional 
sympathy.  The  acting,  the  direction,  and  the  skill  of  the  continuity  are  of  more 
importance  in  a  story  of  this  kind  than  the  original  photoplay. 

It  is  likely  that  many  more  stories  of  newspaper  life  will  be  produced  in  the 
future,  for  there  is  romance  and  adventure  in  the  "game."  But  it  is  also  likely  that 
the  producers  will  require  more  novel  and  distinctive  plots  in  the  future.  Unless  the 
student  is  thoroughly  familiar  with  newspaper  life  and  can  give  it  a  new  and  dis- 
tinctive treatment,  it  would  be  well  to  select  a  more  interesting  and  unusual  subject. 

"DESTINY." 

(Produced  by  Universal;  starring  Dorothy  Phillips;  story  by  Charles  Neville 
Buck;  scenario  by  Elliot  J.  Clawson;  directed  by  Rollin  Sturgeon.) 

Synopsis. 

This  story  is  based  upon  a  powerful  theme  which  is  presented  as  a  psychological 
study  of  a  man's  character.  A  farm  youth  dreams  of  ambition.  Unlike  his  brother, 
who  is  a  iveakling,  he  dreams  of  lording  it  in  the  financial  world,  of  becoming  one 
of  its  biggest  figures. 

The  pages  of  the  book  of  might-have-been  are  turned  ten  years  forward;  the 
youth  is  seen  as  a  man  ivith  his  dreams  fulfilled.  Indeed,  Hamilton  Burton,  the  boy, 
has  become  Hamilton  Burton,  a  man  of  might.  He  becomes  a  Napoleon  of  finance, 
but  loses  his  soul.  He  breaks  up  the  romance  of  his  sister  with  Jefferson  Edwards, 
his  bitterest  rival  in  the  business  ivorld,  and  brings  down  tragedy  upon  his  house. 
His  father  and  mother  die  and  he  meets  a  tragic  death  at  the  hands  of  the  man  he 
has  ruined.  The  chapter  of  the  fairy-book  is  turned  back,  however,  and  it  is  all 
a  dream.  The  boy-conqueror  has  listened  to  the  wise  counsel  of  his  sister,  a  girl  of 
remarkable  intuition.  He  is  happy  to  serve  mankind,  not  to  conquer  it.  Ambition 
is  a  false  god. 

This  story  might  be  considered  as  an  epic  of  Ambition  (Situation  XXX),  but 
with  that  situation  many  others  are  combined.  Situation  XXVIII,  ("Obstacles  to 
Love"),  appears  in  the  hero's  interference  in  the  love  of  his  sister.  Situation  III, 
("Crime  Pursued  by  Vengeance"),  follows  in  his  death  at  the  hands  of  the  man  he 
has  betrayed.  In  the  death  of  his  father  and  mother,  Situation  XXXVI  is  used.  And 
finally,  a  superb  use  of  subdivision  D  (3)  of  Situation  X,  ("Rescue  of  a  Soul  in 
Captivity  to  Error"),  brings  the  story  to  a  satisfactory'  conclusion. 

"Destiny"  is  an  example  of  the  dream  play,  which  was  a  very  popular  type  of 
entertainment  a  few  years  ago.  Because  it  is  a  rather  artificial  means  of  creating  sus- 
pense, it  has  fallen  into  disuse  and  is  under  a  rather  strict  taboo.  But  when  a  story 
with  so  thoroughly  interesting  a  theme  as  this  one  requires  the  dream  element  to 
develop  a  dramatic  plot,  its  use  is  certainly  justifiable. 

gl 


Just  as  in  a  previous  example,  we  noted  that  the  tecijnical  elements  of  the  story 
were  kept  in  the  background,  so  in  this  case  it  is  well  to  observe  that  the  financial 
success  of  the  hero  is  of  less  importance  and  interest  than  the  exposition  of  the  human 
theme,  the  loss  and  rescue  of  a  soul  in  error.  The  public  is  not  much  interested  in 
the  income  or  financial  status  of  your  characters ;  what  it  really  wants  to  know  is  how 
your  characters  act  when  placed  in  human  situations  requiring  strength  and  nobilty 
and  courage. 

"THE  DEVIL'S  RIDDLE." 

(Fox  Production;  starring  Gladys  Brockwcll;  story  by  Edwina  Levin;  scenario 
by  Ruth  Ann  Baldwin;  directed  by  Frank  Bcal.) 

Synopsis. 

Esther  lives  ivith  a  drunken  step-father  in  a  fumble-down  shack,  but  holds  out 
roseate  hopes  for  the  future.  Jim  Barnes  is  rescued  by  her  in  a  terrific  blizzard,  and 
left  alone  in  the  cabin  the  tivo  fall  in  love.  There  is  barely  food  enough  for  two 
and  when  Jim  finds  that  Esther  is  starving  herself  for  him,  he  leaves.  He  falls  uncon- 
scious in  the  village  and  is  ill  for  some  time.  Esther  thinks  he  has  forgotten  her  and 
joins  a  theatrical  troupe.  Two  years  later  she  again  meets  Jim,  but  a  jealous  mem- 
ber of  the  troupe  impresses  Jim  with  the  fact  that  Esther  has  been  unduly  friendly 
with  the  manager.  Jim  leaves  and  becomes  engaged  to  another  girl.  Esther  poses  for 
a  famous  artist  and  accepts  his  proposal  of  marriage,  though  her  heart  is  breaking  for 
Jim.  Before  it  is  too  late,  Jim  comes  to  confess  his  love  and  admit  his  mi'iihe  In 
distrusting  her. 

This  story  was  characterized  as  interesting  by  a  reviewer  in  a  trade  journal  because 
it  contains  not  one  happy  moment.  The  star  is  compelled  to  go  through  the  rive 
reels  of  the  action  portraying  pathetic  and  tragic  incidents.  Its  effect  upon  the  audience 
is  probably  the  \ery  same  as  upon  the  characters. 

The  opening  episode  of  the  story  is  a  very  effective  dramatic  inception,  for  it 
shows  the  heroine  in  an  interesting  phase  of  Situation  XXI,  ("Self-sacrifice  for  a 
Loved  One").  Up  to  the  two-year  time  lapse  the  story  possesses  sound  and  human 
characterization  and  holds  out  a  promise  of  genuine  drama  to  come.  But  in  the  very 
beginning  the  author  has  failed  to  establish  a  sound  basic  conflict,  and  consequently, 
at  the  end  of  the  first  reel,  she  has  found  it  necessary  to  skip  two  years  and  to  start 
the  story  all  over  again  under  totally  different  conditions  and  with  completely  uns\m- 
pathctic  and  mechanical  characterization.  Unless  there  is  a  strong  conflict  in  the  very 
basis  of  a  photoplay  it  will  not  lend  itself  to  successful  development;  in  this  case  we 
can  observe  the  results  of  such  a  fundamental  weakness.  There  are,  in  effect,  two 
stories  in  this  photoplay,  and  either  of  them  might  have  been  made  interesting  if  the 
author  had  understood  photoplay  technique.  As  the  result  of  the  artificial  combina- 
tion, there  is  neither  human  interest  nor  poignant  drama  in  the  play. 

After  the  excellent  use  of  Situation  XXI,  three  others  enter  the  plot, — VII, 
("Falling  Prey  to  Cruelty  and  Misfortune"),  XXXII,  ("Mistaken  Jealousy"),  and 
XXXIV,  ("Remorse"). 

There  is  a  great  tendency  among  beginners  to  make  the  same  error  the  author 
of  this  play  has  made,  and  therefore  the  story  should  be  studied  carefully  as  an  exam- 
ple of  the  wrong  use  of  situations  and  the  improper  combination  of  plot  elements 
that  have  no  integral  relation  to  one  another. 

"THE  DIVORCEE." 

(Produced  by  Metro;  starring  Ethel  Barrymore;  from  the  play  by  W.  Somerset 
Maugham ;  scenario  by  June  Mathis  and  Katherine  Kavanaugh ;  directed  by  Herbert 
Blache.) 

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Synopsis. 

Lady  Frederick  Berolles,  the  former  Betsy  O'Hara,  married  Lord  Bcrolles  to 
help  her  impoverished  family.  Lord  Berolles  turns  out  to  be  a  brute  and  on  one 
occasion  publicly  insults  her  when  Sir  Paradine  Fuldes,  Lady  Frederick's  one-time 
suitor,  is  seen  in  company  ivith  her.  That  same  niyht,  Lady  Frederick  receives  word 
from  her  sister,  Kitty  Beresford,  that  she  has  been  obliged  to  visit  the  rooms  of  Robert 
Montgomery,  possessor  of  secrets  of  Kitty's  indiscreet  past  that  she  does  not  wish  to 
reach  her  husband,  Horace  Beresford.  Lady  Frederick  goes  to  the  rescue,  and  as 
luck  would  have  it,  Beresford  also  calls.  There  is  a  tell-tale  scarf  lying  on  a  chair 
that  he  recognizes  as  his  wife's.  But  Lady  Frederick  appears  and  claims  it  as  hers. 
Thus  does  she  sacrifice  her  own  reputation  for  her  sister's.     A  divorce  soon  follows. 

A  number  of  years  later  Lady  Frederick  is  at  Monte  Carlo  in  rather  reduced 
circumstances,  but  still  making  the  best  of  it.  The  young  Lord  Mereston  is  seen 
much  with  her,  and  finally  his  mother  sends  for  her  brother,  none  other  than  Sir 
Paradine,  to  settle  matters.  So,  to  Alonte  Carlo  comes  Lady  Frederick's  old  suitor, 
to  learn  the  truth  of  the  situation.  He  soon  discovers  that  Lady  Frederick  does  not 
love  the  young  lord,  and  he  also  discovers  that  he  himself  is  again  in  love  with  her. 
Lady  Mereston  insults  Lady  Frederick  and  she  is  about  to  produce  letters  to  show 
what  sort  of  a  fellow  her  "sainted"  husband  ivas  ichen  Lord  Mereston  declares  his 
high  regard  and  admiration  for  his  late  father.  Again  Lady  Frederick  sacrifices  her- 
self and  soon  after  disillusions  Lord  Alereston  by  permitting  him  to  watch  her  "make- 
up." Lord  Mereston  straightway  realizes  the  difference  in  ages  and  though  his  infat- 
uation for  Lady  Frederick  takes  flight,  his  admiration  for  her  increases.  But  Lady 
Frederick  becomes  his  aunt,  for  Sir  Paradene  finds  he  can't  live  alone  any  longer. 

Taken  from  a  stage  play  by  one  of  the  most  brilliant  of  modern  English  drama- 
tists, this  photoplay  is  an  excellent  example  of  dramatic  technique.  The  rather  long 
lapse  of  time  does  not  really  destroy  the  unity  of  the  action,  for  it  is  the  simplest  and 
easiest  way  of  passing  over  a  dull  period  in  the  story.  In  this  case  the  lack  of  a  strict 
unity  of  time  is  the  result  of  a  worth-while  elimination  of  non-essential  details.  It 
is  well  to  observe  also  that  each  of  the  two  distinct  parts  of  the  play  is  in  itself  unified. 

The  basic  situation  of  the  story  is,  of  course,  XXI  ("Self-Sacrifice  for  Kindred"), 
which  manifests  itself  in  Betsy's  marriage  to  Lord  Berolles  to  save  her  family,  in  her 
protection  of  her  sister  (which  involves  Situation  XXXIII),  and  later  in  her  sacri- 
fice of  her  own  pride  for  the  sake  of  the  brother  and  the  mother  of  the  man  she 
loves.  Situation  XXV,  ("Adultery"),  combined  with  Situation  XXXIII,  ("Erron- 
eous Judgment"),  appears  in  Berolles'  attitude  toward  his  wife.  There  is  also  some- 
thing of  XXVII,  ("Discovery  of  the  Dishonor  of  a  Loved  One"),  in  this  episode. 
Situation  XXVIII,  ("Obstacles  to  Love"),  occupies  an  important  place  in  the  story, 
first  in  Lady  Frederick's  marriage  to  Berolles,  which  keeps  her  from  Sir  Paradine 
and  later  in  the  climax  when  she  reveals  her  age  to  Lord  Mereston.  The  combina- 
tion of  these  elements  form  the  backbone  of  a  very  dramatic  comedy  drama  of  the 
higher  type.  There  is  enough  poignance  and  dramatic  tension  to  awaken  emotional 
sympathy,  and  yet  there  is  an  excellent  vein  of  ironic  comedy  running  through  the  story. 

The  idea  of  a  woman  disillusioning  a  young  man  in  love  with  her  as  Lady 
Frederick  does  in  this  case,  or  of  a  man  using  similar  means  to  save  a  young  girl  enarn- 
oured  of  him  from  folly,  has  been  used  a  number  of  times  both  on  the  stage  and  in 
photoplays.  It  is  a  very  effective  form  of  self-sacrifice,  and  in  new  guises  it  may  be 
used  again  with  good  effect.  But  it  should  spring  naturally  from  the  characters  of 
a  story,  and  the  writer  should  not  attempt  to  super-impose  the  dramatic  trick  upon 
unsuitable  characters,  or  in  a  plot  that  does  not  require  it. 

Similarly,  the  idea  of  a  girl  marrying  for  money  at  the  behest  of  her  family  is  a. 
familiar  one,  and  its  use  must  be  very  skillful  to  be  effective.  In  its  usual  form,  it 
fails  to  win  the  spectator's  sympathy  for  the  heroine.  It  is  perhaps  better  suited  to 
comedy  drama  than  to  more  tense  and  emotional  treatment. 

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"DOUBLE  SPEED." 

( Paramount-Artcraft  Production;  starring  Wallace  Reid  ;  story  by  J.  Stewart 
Woodhouse;  scenario  by  Clara  Kennedy;  directed  by  Sam  Wood.) 

Synopsis. 

"Speed"  Carr  is  making  an  auto  trip  from  New  York  to  Los  Angeles,  where  he 
is  to  meet  his  millionaire  uncle,  John  Ogden.  He  carries  a  letter  of  introduction  from 
his  uncle  to  Donald  McPherson,  President  Continental  Bank  of  Los  Angeles.  On 
the  road  he  is  robbed  by  tramps  of  all  his  possessions  and  arrives  in  Los  Angeles 
dressed  as  a  hobo.  He  is  thrown  out  of  the  bank,  pawns  his  watch  and  secures  a  job 
as  chauffeur  to  Sallie  McPherson,  the  president's  daughter.  Ogden  wires  McPherson 
that  he  is  coming.  The  latter,  not  being  able  to  produce  the  expected  "Speed"  and 
fearing  lest  his  financial  plans  may  fail,  induces  the  real  "Speed"  to  impersonate  him- 
self. Ogden  is  pleased  to  note  that  Sallie  and  his  nephew  are  in  love,  the  father  is 
indignant,  but  helpless.  Finally,  when  Ogden  tells  "Speed"  to  sign  some  papers, 
McPherson  confesses  the  deception  and  denounces  "Speed"  for  daring  to  make  love 
to  his  daughter.  But  Sallie  tells  him  they  were  married  that  morning.  "Speed" 
identifies  himself  and  all  ends  well. 

This  story  is  a  very  good  example  of  a  comedy  drama  with  a  slightly  melo- 
dramatic basis.  It  is  apparent  almost  from  a  reading  of  the  brief  synopsis  that  the 
story  was  written  as  a  photoplay,  for  the  complications  and  situations  and  all  of  the 
action  are  admirably  suited  to  the  needs  of  the  screen.  The  romantic,  dashing  char- 
acter, the  sudden  change  in  his  fortunes,  the  misunderstandings  with  which  he  is  met, 
the  unusual  predicament  that  leads  to  his  impersonation  of  himself  (excellent  use  of 
recoil),  the  swift  romance,  the  suspensive  climax,  etc. — all  of  these  qualities  in  the 
play  provide  pleasing  and  interesting  screen  material,  with  chances  for  picturesque 
production  and  good  character  contrasts.  It  is  unusual  to  have  so  great  a  degree 
of  suspense  in  comedy,  but  in  this  case  the  author  has  devised  a  plot  that  combines  the 
expected  with  the  unexpected  in  a  very  unusual  way. 

The  story  again  opens  with  a  comedic  use  of  Situation  VII  ("Falling  Prey  to 
Cruelty  and  Misfortune"),  and  then  involves  various  forms  of  XXVIII,  ("Obstacles 
to  Love"),  and  XXXIII,  ("Erroneous  Judgment").  The  use  of  recoil  in  the  form 
of  Situation  XXXIII  is  especially  notable,  for  it  again  gives  the  climax  exceptional 
comedic  power. 

This  story  may  be  considered  as  a  good  example  of  the  ever-popular  type  of 
play  in  which  such  stars  as  Wallace  Reid,  WiUiam  Desmond,  William  Russell,  Tom 
Moore,  Owen  Moore,  Warren  Kerrigan  and  many  others  appear.  Stories  of  this 
kind  are  almost  always  salable,  providing  they  are  properly  constructed  and  well- 
characterized,  for  it  is  impossible  for  any  audience  to  be  bored  by  a  gay,  romantic, 
suspensive  plot  that  embraces  the  elements  of  this  example. 

"A  FAVOR  TO  A  FRIEND." 

(Produced  by  Metro;  starring  Emmy  Wehlen ;  story  and  scenario  by  Luther 
Reed ;  directed  by  John  Ince.) 

Synopsis. 
Briefly  the  story  tells  of  an  heiress'  rebellion  against  her  guardian,  Mark  Arnold. 
Unless  she  signs  certain  papers  he  and  his  cohorts  are  sure  to  face  a  long  prison  term. 
But  she  rebels  and  the  consequence  is  she  is  locked  in  her  room,  but  manages  to  escape. 
Mary  has  a  friend,  Gloria  Morning,  H'ho  is  the  star  of  an  unsuccessful  musical  show. 
And  so  she  plans  to  look  her  up.  The  press  agent  of  the  play  conceives  the  idea  of 
having  the  star  come  up  missing  so  as  to  attract  the  attention  of  the  public.  He  out- 
lines his  plan  to  Robert  Garrison,  who  consents  to  steal  Gloria  and  keep  her  a 
prisoner  in   his   mountain   cabin.     But   the  young   kidnapper   mistakes  Mary    for   the 

84 


actress.     IVhen  she  realizes  the  scheme  she  is  immensely  grateful  since  it  takes  her  away 
frnm  her  guardian.    And  Alary  carries  out  the  deception  admirably. 

Of  course,  everything  develops  romantically  for  her,  and  the  guardians  are  given 
their  just  deserts  in  the  end.  By  running  away  she  saved  her  fortune  and  the  show 
and  found  a  wonderful  husband. 

In  marked  contrast  with  "The  Divorcee,"  which  is  an  ironical  comedy  drama 
of  society,  this  story  is  a  light  and  rather  farcical  comedy  drama  with  a  vein  of  melo- 
drama underlying  it.  It  is  clever,  satirical  and  swift  enough  in  action  to  hold  the 
interest  throughout. 

The  inceptive  situation  is,  of  course,  VIII,  ("Revolt"),  which  is  followed 
quickly  by  "Erroneous  Judgment",  (XXXIII),  and  then  by  "Abduction",  in  this  case 
the  abduction  of  a  consenting  woman,  (X-B).  The  use  of  "Erroneous  Judgment", 
(XXXIII),  involves  the  rather  hackneyed  and  somewhat  "convenient"  idea  of  mis- 
taken identity,  but  in  this  case  it  is  partially  allowable  because  of  the  farcical  nature 
of  the  plot.  Also,  it  is  not  implausible  that  such  a  mistake  should  be  made,  for  in 
a  careful  production  such  as  this  story  received,  the  situation  is  prepared  and  motivated 
by  incidents  which  made  it  appear  natural. 

As  in  most  light  comedy  dramas  the  success  of  this  photoplay  depends  more  upon 
the  incidental  humorous  treatment  and  the  subtitles  than  upon  the  situational  basis. 
A  very  light  plot  can  be  made  to  serve  if  it  is  developed  in  a  sufficiently  clever  man- 
ner, but  there  is  always  a  danger  of  not  having  enough  material  for  five  reels  of  film. 

It  is  well  to  observe  the  satirical  use  of  the  Situation  X,  ("Abduction"),  which 
in  this  case  is  cleverly  combined  with  Revolt  and  Erroneous  Judgment. 

A  photoplay  of  this  type  is  produced  and  played  in  the  farce  tempo,  and  it  is 
really  a  more  difficult  form  to  write  than  straight  drama,  for  every  amusing  detail  of 
action  must  be  visualized  and  created  by  the  author. 

"FIGHTING  DESTINY." 

(Produced  by  Vitagraph;  starring  Harry  Morey ;  story  by  Stanley  Shaw;  directed 
by  Paul  Scardon.) 

Synopsis. 

A  young  political  reformer  is  Larry  Cavendish,  engaged  to  Caryl  Rundlege, 
daughter  of  a  former  governor. 

While  attending  a  bachelor  dinner  given  in  his  honor,  the  night  before  the  wed- 
ding, Larry  is  handed  a  note  by  the  zvaiter,  with  instructions  not  to  open  it  until  he 
reaches  home. 

It  was  from  his  fiancee,  and  she  had  vanished.  Larry's  frenzied  search  for  Caryl 
is  replete  with  thrills  and  leads  him  through  many  adventures  in  the  underworld.  He 
is  refused  aid  by  the  police  and  all  his  political  friends,  and  even  his  prospective^ 
father-in-laii',  the  former  governor,  tries  to  prevail  upon  Larry  to  give  up  the  search. 

But  undaunted,  he  continues  the  hunt  alone,  braving  the  dangers  that  spring  up. 
He  feels  that  there  is  some  strong  political  and  mysterious  influence  working  against 
him. 

After  a  fight  with  Levarro,  a  beggar  padrone  who  furnishes  blackmail  informa- 
tion to  an  unscrupulous  political  boss,  Larry  sees  his  sweetheart  shot  dead  by  one  of 
the  stray  bullets. 

Heartbroken,  he  carries  the  body  through  the  underworld  until  he  is  brought  to 
bay  in  a  notorious  opium  den.  The  Police  Commissioner,  finally  aroused,  selects  that 
particular  moment  for  a  raid  on  the  den,  led  by  no  other  than  Caryl  herself. 

The  dead  girl  was  her  twin  sister,  and  Caryl  had  been  lured  away  on  the  eve 
of  her  wedding  by  a  note  from  Levarro,  which  stated  that  she  had  a  tw'in  sister  and 
that  she  ivas  dying. 


Her  father,  the  former  governor,  had  appealed  to  her  to  keep  the  matter  of  her 
having  a  livin  sister  in  the  underworld  a  secret  to  avoid  disgrace  for  all  of  them. 
Larry  and  Caryl  are  thus  reunited  and  the  corrupt  political  ring  is  smashed. 

This  story  is  a  frank  melodrama  and  can  only  be  judged  from  that  point  of  view. 
As  such  it  is  a  thrilling  and  sensational  photoplay,  providing  a  strong  and  heroic  role 
for  the  star  and  offering  many  excellent  opportunities  for  thrilling  action.  Situa- 
tions X,  ("Abduction"),  IX,  ("Daring  Enterprise"),  XI,  ("The  Enigma"),  XII, 
("Obtaining"),  XXVII,  ("Discovery  of  the  Dishonor  of  a  Loved  One"),  and 
XXXIII,  ("Erroneous  Judgment"),  all  play  a  vital  part  in  this  photoplay.  To  a 
lesser  degree  both  XXXV  and  XXXVI  appear. 

"Erroneous  Judgment"  in  this  case  involves  a  rather  thrilling  mystery  element, 
which  is  eventually  solved  in  a  hackneyed  way,  by  the  explanation  that  the  girl  Larry 
saw  shot  was  the  twin  sister  of  his  sweetheart.  This  same  explanation  has  been  used 
times  without  number  in  much  the  same  way,  and  it  usually  destroys  the  illusion  that 
the  preceding  action  has  created.  In  writing  melodramas  of  this  kind,  with  a  definite 
mystery  element  in  them,  it  is  a  good  plan  to  have  a  sounder  explanation  clearly 
thought  out  before  the  mystery  is  "planted." 

The  political  element  in  this  story  affords  a  striking  under^vorld  locale,  but  in 
general  stories  dealing  with  such  superficialities  as  municipal  politics,  graft,  etc.,  should 
be  avoided.  Except  in  melodrama,  in  which  the  thrills  will  make  up  for  any  lack  of 
strict  logic,  one  should  strive  for  logical  and  fundamental  and  realistic  treatment  of 
plot  material.     And  the  editors  have  no  real  objection  to  plot  logic  in  melodrama. 

"FLAMES  OF  THE  FLESH." 

(Fox  Production;  starring  Gladys  Brockwell ;  story  by  Forrest  Halsey;  scenario 
by  Dorothy  Yost;  directed  by  Edward  LeSaint.) 

Synopsis. 

Candace  is  found  in  a  Portuguese  port  about  to  commit  suicide.  She  is  suffering 
from  an  outrage,  and  is  bereft  of  her  honor  and  most  of  her  clothing.  She  is  per- 
suaded by  Craig  Boardman  that  she  can  accomplsh  a  more  fitting  revenge.  He  takes 
her  to  Paris  and  introduces  her  to  Mme.  Binnat,  who  perfects  her  in  all  the  iviles 
and  graces.  She  blossoms  into  a  cruel,  beautiful  creature  who  maddens  the  men. 
Charles  Eastcoat,  an  American,  falls  in  love  with  her.  His  brother  arrives  to  intervene 
and  falls  in  love  with  her  also.  Thinking  to  save  his  brother,  he  spends  the  iveek-end 
with  the  girl,  but  ends  by  confessing  his  love.  The  father  arrives  upon  the  scene  to 
reason  with  his  elder  son.  In  a  thrilling  scene  it  develops  that  the  father  is  the  man 
who  caused  the  girl's  downfall.  Rather  than  bring  disgrace  upon  the  elder  brother, 
whom  she  loves,  Candace  drinks  poison  and  dies  in  his  arms. 

The  trade  reviews,  in  considering  this  story,  called  it  a  "lurid  melodrama,"  and 
it  is  indeed  all  of  that.  The  situations  are  of  the  exaggerated,  thrilling  but  accidental 
kind  that  are  seldom  met  with  outside  of  a  theatre.  For  a  small  section  of  the  public 
there  is  entertainment  in  such  plays,  but  the  producers  and  the  public  are  awakening  to 
a  desire  for  better  stories  founded  upon  situations  that  really  occur  in  life  and  so  have 
a  greater  significance  for  the  average  spectator.  The  lurid  melodrama  is  almost  a  thing 
of  the  past,  and  the  plays  that  have  made  the  greatest  successes  in  the  recent  past  are 
those  which  deal  in  a  human  way  with  vital  and  significant  situations  in  the  lives  of 
real  people,  which  present  the  struggles  ot  human  characters  in  a  human  way. 

In  this  case  the  story  starts  with  a  sensational  form  of  Situation  VII  ("Falling 
Prey  to  Cruelty  and  Misfortune"),  then  progresses  to  Situation  III  ("Crime  Pursued 
by  Vengeance,"  subdivision  B-7 — "Revenge  Upon  a  Whole  Sex  for  a  Deception  by 
One"),  then  to  Situation  XXIV  ("Rivalry  of  Superior  and  Inferior")  with  which  is 
combined  Situation  XXVII  ("Discovery  of  the  Dishonor  of  a  Loved  One"),  and  on  to 
the  climax  in  which  the  heroine  sacrifices  herself — Situation  XXI   ("Self-sacrifice  for 

86 


Kindrcii").  All  of  these  situations  are  developed  to  their  full  dramatic  povscr  and  as 
a  result  the  story  is  heavily  burdened  with  drama.  It  is  almost  too  complicated  and  too 
dramatic  to  produce  a  unified,  integral  dramatic  effect.  In  considering  other  pla.vs,  we 
have  seen  that  often  the  best  results  are  obtained  from  relatively  simple  plots,  in  which 
one  theme  is  developed  in  a  simple  and  direct  manner.  In  this  story  it  is  very  difficult 
to  find  a  unifying  theme  and  it  is  probable  that  the  author  wrote  the  story  simply  to 
thrill  the  audience. 

The  climax,  especially,  is  so  implausible  that  the  authentic  thrill  is  lost.  The 
fact  that  the  heroine  should  meet  and  win  the  love  of  two  sons  of  the  man  who  had 
wronged  her  is  a  very  far-fetched  coincidence,  justified  only  on  the  theory  that  the 
world  is  a  small  place  after  all. 

Since  there  is  some  demand  for  plays  of  tliis  kind,  such  stories  will  always  be 
written.  But  they  should  be  developed  in  a  more  logical  and  less  sensational  way, 
upon  situations  that  have  a  more  poignant  appeal.  The  story  is  worthy  of  study 
because  of  the  manner  in  which  the  author  has  combined  tense  and  thrilling  situations. 
Structurally  it  is  a  good  piece  of  craftsmnnsliip,  despite  the  absence  of  theme,  the  false 
and  unreal  characterization,  and  the  lurid  melodrama  of  the  plot. 

'TOOTLIGHTS  AND  SHADOWS." 

(Selznick  Production;  starring  Olive  Thomas;  story  by  Bradley  King;  scenario 
by  R.  Cecil  Smith;  directed  by  John  W.  Noble.) 

Synopsis. 

Gloria  Daiun  is  the  latest  Broadway  favorite,  a  bright,  scintillating  star  of  "The 
Midnight  Revue,"  and  "as  straight  as  a  string."  Peter  Shaiv,  a  wealthy  man-about- 
town,  proposes  marriage.  Dazzled  by  the  prospects  of  wealth  and  luxury,  she  accepts, 
though  she  does  not  love  him. 

The  same  night  a  strange  7iian  enters  her  apartment  with  his  own  key.  She  dis- 
covers he  is  irrational  and  is  horrified  when  he  falls  unconscious.  He  passes  through 
a  long  period  of  delirium,  remaining  in  Gloria's  apartment  by  order  of  the  doctor. 
During  his  convalescence  he  makes  love  to  her.  She  feels  herself  strangely  attracted 
to  him. 

Later  she  learns  he  is  Jerry  O'Farrcll,  millionaire  sportsman,  who  contracted  fever 
while  tiger  hunting  in  Africa.  JVith  a  happy  heart  she  goes  to  inform  him  of  his 
identity.     But  during  an  unguarded  moment  he  had  slipped  away. 

Arriving  home  she  finds  Shaw,  who  has  learned  of  the  man  who  stayed  there  for 
two  weeks.  Shaw  no  longer  wants  her  for  his  wife,  and  miih,s  an  insulting  proposal. 
O'Farrell  enters  and  a  fierce  struggle  ensues.  Shaw,  severely  thrashed,  beats  an  in- 
glorious retreat,  and  O'Farrell  gently  takes  Gloria  in  his  arms. 

This  story  gives  an  excellent  example  of  a  dramatic  beginning  of  a  photoplay. 
In  the  introductory  scenes  we  see  Gloria  about  to  marn,'  a  man  she  does  not  lovr ;  we 
know  she  is  unhappy  and  we  hope  that  something  will  occur  that  will  prevent  the 
marriage.  As  she  is  lying  restlessly  in  bed  a  strange  man  enters  her  apartment,  with 
his  own  key!  Gloria  does  not  know  him,  the  audience  does  not  know  him,  and  sus- 
pense is  maintained  almost  throughout  the  play  by  this  clever  note  of  mystery,  which 
in  the  end  is  resolved  by  a  very  logical  explanation.  The  man  had  lived  in  that  apart- 
ment a  year  before  and  in  his  fever  he  simply  returned  to  it. 

The  rest  of  the  story  follows  a  more  conventional  plot  pattern,  but  it  would  be 
difficult  to  find  a  better  example  of  a  gripping,  suspensive,  romantic  beginning  than  in 
"Footlights  and  Shadows."     The  situations  that  occur  are  VII,  II,  and  XXXIII. 

It  would  have  been  possible  to  have  developed  a  much  stronger  and  more  sus- 
tained plot  on  the  basis  of  this  beginning,  but  since  the  play  was  adapted  from  a 
short  story  originally  written  for  magazine  publication  it  did  not  possess  sufficient 
dramatic  strength  for  a  five-reel  photoplay.     In  a  short  story  one  good  situation  is 

87 


sufficient  for  the  entire  plot,  but  as  we  have  seen  a  five-reel  photoplay  requires  at 
least  three  of  considerable  dramatic  strength. 

This  story  illustrates  in  a  very  excellent  way  the  use  of  a  slight  element  of  mys- 
ter>'.  The  mystery  is  by  no  means  the  most  important  element  in  the  plot  and  its 
solution  is  perfectly  natural.  It  does  not  become  implausible,  but  it  supplies  an  addi- 
tional element  of  suspense  that  could  not  be  achieved  from  a  single  conflict  between 
the  two  men  for  the  love  of  the  girl.  A  slight  mystery  element  of  this  kind  is  often 
very  effective,  especially  if  it  is  used  as  the  inception  of  the  play. 

"THE  FORGED  BRIDE." 

(Universal  production;  starring  Mary  MacLaren;  story  by  J.  G.  Hawks;  sce- 
nario by  Hal  Hoadley;  directed  by  Douglas  Gerrard.) 

Synopsis. 
Forger  BUI  Reynolds  collects  money  on  a  bad  check  and  goes  home  to  his  daughter, 
Peggy,  with  the  intention  of  turning  over  a  new  leaf  and  keeping  straight.  But  from 
the  window  he  sees  a  squad  of  detectives  approaching,  realizes  that  the  game  is  up, 
induces  Peggy  to  leave  the  house,  is  arrested  and  taken  to  jail.  He  is  later  sentenced 
by  Judge  Farrell  to  the  penitentiary.  The  prison  where  he  is  confined  is  close  to  a 
beach  resort  where  Peggy  works.  She  becomes  a  favorite  with  the  college  boys,  one 
of  iihom,  Dick  Fan  Courtland,  jnarries  her.  Dick's  guardian  is  Judge  Farrell,  his 
mother  a  ivealthy  society  matron.  Farrell  is  recognized  by  the  girl,  but  the  judge  keeps 
her  secret.  Clara  Ramarez,  jealous,  tries  to  undermine  Peggy's  standing.  Peggy 
ivrites  to  Bill  that  the  Judge  thinks  she  resembles  his  own  daughter,  u-ho  was  kid- 
napped when  a  baby.  Old  Bill  forges  a  letter  which  makes  it  appear  that  Peggy  is 
really  the  Judge's  daughter,  and  the  Judge,  though  fully  aware  of  the  trick  Bill  has 
played,  accepts  Peggy  as  his  daughter  and  Dick's  wife. 

This  story  is  a  very  good  example  of  a  familiar  plot  treated  in  a  new  way.  Up 
to  the  last  reel  the  story  follows  a  timeworn  pattern  and  one  is  led  to  expect  the  con- 
ventional ending,  in  which  the  Judge  recognizes  Peggy  as  his  long-lost  daughter  and  so 
establishes  her  social  position.  In  the  hands  of  a  less  adroit  craftsman  than  Mr.  Hawks 
this  play  would  have  been  an  ordinarj'  and  hackneyed  melodrama,  but  in  the  climax 
there  is  a  new  and  dramatic  treatment  of  the  old  material.  It  is  well  to  observe  that 
the  novelty  of  the  plot,  the  new  twist  gi\'en  the  situations,  is  the  result  of  careful 
characterization  rather  than  of  any  mechanical  device.  Given  the  characters  of  Bill, 
Peggy  and  the  Judge,  developed  as  distinctive  individuals,  some  degree  of  novelty 
must  enter  into  the  play.  Bill's  forgery  to  establish  his  daughter,  the  Judge's  accept- 
ance of  Peggy  even  though  he  knows  of  the  trick — these  two  distinctive  plot  elements 
are  purely  the  result  of  characterization.  All  three  of  these  characters  are  sympa- 
thetic, even  the  old  criminal,  for  as  far  as  we  learn  from  the  story  he  commits  crime 
only  in  order  to  help  his  daughter.  Many  beginning  writers  would  have  introduced 
Bill  as  a  hardened  criminal  and  would  then  have  endeavored  to  develop  sympathy  for 
him.  In  that  case,  however,  his  character  would  detract  from  the  central  drama  with 
which  we  are  properly  concerned.  The  storj'  is  a  very  good  example  of  starting  the 
drama  at  the  right  point.  It  is  not  necessary  for  the  audience  to  know  any  more 
about  Bill  than  the  story  discloses;  his  past  life  is  irrelevant. 

Also,  the  action  of  the  play  starts  on  a  plane  of  dramatic  interest.  Bill  is  shown 
trying  to  escape  from  the  police.  This  is  an  exciting  use  of  Situation  V  ("Pursuit"), 
in  which  our  sympathy  is  with  the  one  pursued,  both  because  of  his  love  for  his 
daughter  and  because  of  the  natural  instinct  to  take  sides  with  the  one  who  suffers. 

In  addition,  Situations  VII,  XXXV,  XXXVI,  XXVIII  and  XXXIII  enter 
into  the  play,  providing  sufficient  dramatic  strength  for  five  interesting  reels  of  action. 

This  story  may  be  studied  by  the  beginner  as  a  good  example  of  familiar  melo- 
dramatic material  made  interesting  and  novel  by  human  characterization  and  clever 
technical  treatment. 

SS 


"THE  GAME  IS  UP." 

(Produced  by  Universal;  starring  Ruth  Clifford;  story  by  Gladys  E.  Johnson; 
scenario  by  Catherine  Carr;  directed  by  Elsie  Jane  Wilson.) 

Synopsis. 
//  all  started  when  Constance  thought  Peter  Neyland  a  chauffeur,  and  his  auto- 
mobile for  public  hire.  Peter  entered  into  the  game  enthusiastically  for  Connie  ivas 
pretty  and  he  didn't  let  on  at  all  that  he  had  a  million  in  the  bank.  Connie  luanted 
the  car  to  put  through  a  bluff  on  her  friend,  Winnie,  from  the  home  town.  Connie, 
with  artistic  ambitions,  had  come  to  the  city  to  sell  her  paintings,  but  found  that  the 
art  market  didn't  sit  up  and  take  notice  in  the  manner  she  expected.  However,  her  let- 
ters sent  back  home  had  told  of  her  success,  for  Connie  was  quite  proud,  and  before 
Winnie  the  bluff  had  to  be  put  through. 

So  Peter  posed  as  a  chauffeur  and  gladly  loaned  his  car  and  his  services.  How- 
ever, toward  the  end  of  the  day  they  met  Mrs.  Ilyland,  also  from  the  home  toivn,  ivho 
persuaded  Winnie  to  stay  on  a  feiv  days — at  Connie's  house.  Connie  not  having  any 
house,  it  was  a  rather  difficult  proposition  for  her  to  face,  but  Peter  came  to  the  rescue 
again  with  his  bachelor  apartments.  McQtiade,  his  valet,  was  dispatched  for  Connie's 
clothes  and  hurried  excursion  on  Peter's  part  put  pipes  and  tobacco  and  other  tell-tale 
things  to  cover. 

Then  Airs.  Hyland  demanded  to  meet  celebrities  and  McQuade  was  again  pressed 
into  service  as  a  polo  player.  Ted  Latham,  Peter's  friend,  joined  in  the  game  and  fell 
in  love  with  Winnie.  What  was  more  likely  to  happen  than  a  dual  ivedding?  Noth- 
ing; and  truth  to  tell,  that's  u'hat  did  happen  after  Connie's  game  teas  up. 

This  simple,  wholesome,  thoroughly  amusing  comedy  drama,  is  based  upon  Situa- 
tion XXX  ("Ambition"),  with  a  slight  use  of  Situation  VII  ("Falling  Prey  to 
Cruelty  and  Misfortune"),  and  something  also  of  XXIV  ("P.ivalry  between  Superior 
and  Inferior"),  and  a  great  deal  of  XXXlII  ("Erroneous  Judgment").  The  strong 
point  of  the  story  is  not  its  realism,  but  it  does  possess  an  entertainment  value  strong 
enough  to  please  most  audiences.  It  is  in  the  same  class  with  a  previous  example,  "A 
Favor  to  a  Friend,"  and  compares  favorably  with  that  story  as  a  light  farcical  comedy 
drama.  As  in  that  case,  the  value  of  the  story  depends  upon  the  characterization  and 
the  cleverness  of  the  comedic  treatment. 

The  idea  of  a  young  man  of  wealth  posing  as  the  chauffeur  either  of  a  wealthy 
girl  with  whom  he  is  in  love  or  of  a  girl  in  a  lower  social  stratum  is  a  familiar  one, 
but  in  this  case  it  is  made  fresh  and  amusing  by  skillful  incidental  treatment.  This 
type  of  story  is  more  difficult  than  it  seems,  for  really  novel  comedy  ideas  are  very 
rare.  But  to  the  photoplaywright  with  a  comedic  turn  of  mind,  stories  of  this  kind 
will  probably  be  more  interesting  than  the  more  serious  examples  we  shall  consider. 

"THE  GAY  LORD  QUEX." 
(Goldwyn  production;  story  by  Arthur  Wing  Pinero;  directed  by  Harry  Beau- 
mont; starring  Tom  Moore.) 

Synopsis. 

Lord  Quex  is  a  typical  product  of  the  idle  rich,  and  a  notorious  philanderer.  His 
distress  is  acute  when  he  falls  in  love  with  a  charming  girl,  Muriel  Eden,  but  finds 
that  his  prominent  past  is  a  bar  to  a  happy  wedding.  However,  upon  promising  to 
reform,  the  girl  consents  to  wed  him.  Muriel  has  a  friend  in  Sophie  Fullgarney  and 
Sophie  disapproves  of  the  gay  Lord  Quex.  She  attempts  to  prove  that  Quex  is  un- 
worthy of  Muriel  by  informing  her  of  a  compromising  situation  in  which  she  finds 
Quex  with  the  sentimental  Duchess  of  Strood.  But  Sophie's  own  reputation  is  com- 
promised by  a  clever  trick  on  the  part  of  the  nobleman  and  she  is  only  saved  in  the 
eyes  of  her  sweetheart  by  Quex.  Muriel  noiv  is  suspicious  of  Quex  and  thinks  seriously 
of  wedding  another,  but  Sophie  comes  to  the  rescue  and  all  ends  happily  for  Quex. 

S9 


This  comedy  dramn  of  the  romantic  kind  is  a  van'  good  example  of  the  social 
comedy  of  manners,  and  the  characterization  of  the  gay  young  lord  who  has  flirted 
so  much  and  so  often  that  his  reputation  is  ruined,  is  a  thing  of  delight.  The  plot 
really  springs  from  the  characterization,  for  when  the  gay  Lord  Quex  comes  in  con- 
tact with  the  girl  he  learns  to  love  one  knows  that  the  other  women  of  his  innocent 
but  flirtatious  past  will  provide  a  strong  and  amusing  element  of  conflict.  Quex  is 
the  sort  of  a  man  who  tells  every  pretty  woman  he  meets  that  she  has  wonderful  eyes, 
and  so  charmingly  that  they  all  fall  in  love  with  him.  In  this  case  the  friend  of 
the  heroine  considers  him  too  wicked  to  marry  the  girl  of  his  choice  and  tries  to  report 
a  compromising  predicament  of  the  lord's.  By  a  clever  trick  he  places  her  in  the  very 
same  predicament.  This  is  a  very  fine  example  of  the  use  of  comedic  recoil,  and  it 
shows  how  skillfully  the  situation  of  "Erroneous  Judgment"  (XXXIII)  can  be  used 
as  a  basis  of  comedy  and  comedy  drama.  That  situation,  combined  with  a  slighter 
element  of  "Mistaken  Jealousy"  (XXXII),  forms  the  basis  of  the  plot. 

The  story  is  also  noteworthy  for  another  comedic  device,  which  is  very  effective 
in  portraying  character.  The  hero  repeatedly  says,  to  various  women,  "Did  anyone 
ever  tell  you  that  you  have  wonderful  eyes?"  and  each  time  this  key-line  is  repeated  it 
wins  a  hearty  response  from  the  audience.  The  use  of  the  key-hne  in  this  way  is 
very  effective,  in  both  comedy  and  drama,  but  care  must  be  exercised  not  to  use  it  too 
often.  In  a  melodrama  recently  read  the  heroine  was  abducted  by  a  brute  who  later 
was  regenerated  through  her  love.  When  he  found  her  on  the  trail  he  said,  "What  I 
find  on  the  trail  I  take!"  Later  the  girl  saved  his  life  in  a  snowstorm  on  the  same 
trail  and  as  she  held  him  in  her  arms  she  said,  in  an  entirely  different  tone,  "What  I 
find  on  the  trail  I  take!"  The  correct  use  of  such  spoken  titles  binds  all  of  the  action 
together  in  an  inseparable  unit  and  leads  to  a  single  dramatic  impression.  In  the 
melodrama  just  mentioned  the  title  was  first  used  in  the  greatest  crisis  of  the  action, 
and  the  second  time  it  brought  the  play  to  happy  ending. 

"The  Gay  Lord  Quex"  also  indicates  a  dramatic  advantage  some  stage  plays 
possess.  This  photoplay  was  adapted  from  one  of  the  best  of  Pinero's  stage  successes, 
and  Pinero  is  a  very  skillful  dramatist.  The  climax  of  the  story,  especially,  occurs  in 
a  very  restricted  area,  having  been  confined  in  the  stage  play  to  one  set.  The  result 
is  a  greater  unity  and  forcefulness  than  would  otherwise  have  been  achieved.  The 
photoplaywright  will  do  well  to  study  the  work  of  Pinero  and  other  dramatists  for 
the  stage — most  of  which  can  be  found  in  the  libraries — in  order  to  master  this  prin- 
ciple of  a  close-knit  and  tense  climax,  restrained  to  a  minimum  of  space. 

"THE  GIRL  ALASKA." 
(Produced  by  World;  starring  Lottie  Kruse;  author  and  direction  not  credited.) 

Synopsis. 

This  is  a  story  of  Alaska — a  story  of  the  trackless  wastes  of  the  North  and  the 
survival  of  the  fittest.  The  merciless  reaches  of  snow  hold  nature  in  a  tight  grip 
when  the  girl  sets  foot  in  Skagway,  the  gateway  of  Alaska.  She  has  been  an  orphan 
since  her  father  went  North  in  search  of  gold.  Reading  in  the  neivspapers  about  the 
opportunities  offered  to  ambitious  young  men  in  Alaska,  she  determines  to  disguise 
herself  as  a  boy  and  folloiv  his  adventurous  path.  And  discovered  as  a  sioivaway  on 
the  north-bound  ship  she  gives  her  name  as  Alaska  and  is  obliged  to  scrub  decks. 
When  she  suffers  several  indignities  a  fellow  passenger,  a  youth  about  her  own  age, 
comes  to  her  rescue,  and  instantly  wins  her  friendship. 

They  decide  to  go  as  pals  and  he  pays  her  voyage.  So  Skagway  is  reached.  A 
"sourdough"  offers  to  guide  them  to  a  rich  gold  country  out  of  gratitude  for  grub- 
staking him,  but  after  a  tedious  journey  the  pals  manage  to  reach  the  cabin  of  an  old 
gold  seeker,  who  offers  them  hospitality.  Pay  dirt  is  struck  but  the  old  man  suc- 
cumbs to  illness,  though  not  before  the  girl  learns  that  he  is  her  own  father. 

90 


Then  one  day  the  young  man  decides  to  return  East  and  bring  bark  a  bride.  He 
meets  with  an  accident  and  is  rescued  by  his  pal  who  nurses  him  back  to  health.  And 
eventually  he  discovers  that  she  is  a  girl  and  the  best  little  pal  in  the  world  and  so 
they  marry. 

This  photoplay  is  of  especial  interest  to  the  photoplaywright  because  it  involves 
one  of  the  most  timeworn  of  dramatic  tricks — the  heroine  disguised  as  a  boy,  and 
the  hero's  failure  to  learn  her  sex  until  the  very  end  of  the  story.  The  same  use  of 
disguise  has  been  employed  a  great  many  times  in  the  photoplay,  but  it  is  never 
wholly  plausible  or  realistic.  In  comedies  of  the  slapstick  variety  the  disguise  of  men 
as  girls,  or  the  reverse,  is  frequently  used,  but  even  in  that  form  the  trick  is  rather 
inefifective  and  artificial.  There  is  a  romantic  interest  in  such  an  element,  but  unless 
a  story  receives  a  very  skillful  direction  and  casting  it  will  fail  to  convince  a  sophisti- 
cated audience. 

Situation  XXX  ("Ambition"),  first  appears  in  the  girl's  desire  to  follow  the 
lure  of  gold,  and  it  is  quickly  followed  by  Situation  IX,  ("Daring  Enterprise"),  which 
is  used  with  decided  effectiveness.  Situation  XXXV  ("Recovery  of  Loved  Ones") 
and  Situation  XXVIII  ("Obstacles  to  Love"),  both  appear  in  minor  episodes. 

Although  it  would  seem  that  the  story  in  this  case  is  a  minor  factor,  it  is  only 
fair  to  state  that  this  photoplay  has  the  distinction  of  being  the  first  to  be  produced 
in  Alaska,  with  the  wealth  of  scenery  that  Alaska  provides.  It  is  therefore  a  very 
commendable  experiment,  and  the  relative  simplicity  of  the  plot  does  not  lessen  its  value. 

For  the  photoplay^vright,  however,  it  is  a  good  example  of  at  least  one  dramatic 
trick  that  should  be  avoided  or  dealt  with  in  a  very  careful  and  convincing  manner. 

"THE  GIRL  IN  NUMBER  29." 

(Universal  Production;  all-star  cast  with  Frank  Mayo;  story  by  Elizabeth  Jor- 
dan; scenario  by  Philip  J.  Hurn;  directed  by  Jack  Ford.) 

Synopsis. 

Laurie  Devon  writes  a  successful  play  and  then  cannot  be  induced  to  work  any 
more.  His  friends  deplore  the  rut  into  which  he  has  fallen.  One  day  Laurie,  look- 
ing from  his  bedroom  windoiv,  sees  a  beautiful  girl  in  the  apartment  across  the  ivay 
holding  a  revolver  to  her  head.  He  rushes  to  her  apartment  and,  breaking  in,  prevents 
her  from  taking  her  life.  He  begs  that  he  might  become  her  protector  when  he  sees 
that  she  is  in  constant  fear  of  some  horrible  influence.  Laurie  discovers  that  a  man 
named  Shaw  is  bothering  the  girl  whom  he  knows  as  Miss  Mayo.  He  follows  Shaw 
to  an  out-of-the-way  place  and  is  dumped  into  a  cellar,  but  escapes.  Later  he  learns 
that  Miss  Mayo  has  been  abducted.  He  follows  her  to  a  country  house  and  after 
battling  ivith  a  gang  of  thugs  rescues  her.  But  in  leaving  he  is  led  to  believe  that 
he  has  killed  Shaiv.  Back  home  he  confesses  to  his  sister  and  friends  that  he  is  a 
murderer  and  learns  that  the  whole  affair  luas  a  frame-up  to  provide  him  with  the 
excitement  ivhich  would  stimulate  him  to  work.  Miss  Mayo  is  an  actress  who  agrees 
to  take  the  leading  role  in  his  forthcoming  play.     She  also  agrees  to  become  his  wife. 

This  story  is  a  mystery  story  of  the  artificial  and  mechanical  tjpe,  solved  in  the 
end  by  a  device  almost  as  trite  and  unreasonable  as  the  "dream  ending."  To  learn 
that  all  of  the  action  we  have  been  watching  is  framed  up  for  the  sake  of  arousing 
the  hero  to  further  efforts  as  a  dramatist  is  just  as  implausible  as  to  learn  that  it  is  all 
a  dream.  In  fiction,  the  skillful  author  could  maintain  suspense  and  carry  the  reader's 
breathless  interest  from  one  chapter  to  the  next.  But  on  the  screen,  which  more  than 
any  other  dramatic  medium  requires  stories  that  produce  the  illusion  of  reality,  the 
implausible  basis  and  the  trick  ending  are  technical  devices  that  the  true  dramatic 
craftsman  scorns  to  use.  It  is  a  simple  thing  to  write  a  mystery  ston,'  of  this  kind,  but 
a  very  difficult  one  to  bring  it  to  a  logical  and  realistic  conclusion.  Few  such  plays  are 
successful  for  this  reason. 

91 


The  plot  involves  Situation  II,  ("Deliverance"),  X,  ("Abduction"),  III, 
("Crime  Pursued  by  Vengeance"),  and  XXXIII,  ("Erroneous  Judgment").  The 
only  novelty  in  the  plot  is  the  sudden  surprise  in  the  end  of  the  story,  but  it  is  so 
palpably  an  artificial  trick  that  it  loses  most  of  its  dramatic  value. 

The  great  difficulty  involved  in  writing  a  really  plausible  mystery  story  makes  it 
unwise  for  the  beginner  to  attempt  this  form.  The  plot  material  should  be  thoroughly 
tested  and  analyzed,  and  if  it  is  found  to  be  better  suited  to  the  short  story  it  should 
be  developed  in  that  way.  It  is  always  wise,  however,  to  select  more  novel  basic  situa- 
tions than  the  author  of  this  novel  employed,  even  in  writing  a  mystery'  story.  The 
very  triteness  of  the  artificial  plot  adds  to  the  implausibility  of  the  ending. 

It  should  be  observed,  however,  that  there  is  a  very  interesting  and  romantic 
inception  in  this  play.  The  hero's  sight  of  the  girl  about  to  shoot  herself,  his  rescue 
of  her,  and  his  protection  constitute  an  excellent  beginning  for  a  romantic,  adven- 
turous story,  but  the  charm  of  this  part  has  been  lost  by  the  efFort  to  maintain  the 
mystery  throughout  five  reels. 

"THE  GRAY  HORIZON." 

(Produced  by  Robertson-Cole;  starring  Sessue  Hayakawa;  story  and  scenario  by 
Clififord  Howard;  directed  by  William  Worthington.) 

Synopsis. 

This  presents  an  absorbing  story  of  a  Japanese  artist  whose  sense  of  honor  comes 
above  everything  else.  He  receives  a  visit  from  his  sister,  tuho  informs  him  that  she 
is  in  search  of  her  American  husband  ivho  has  so  cruelly  deserted  her.  This  man 
lives  in  the  irnmediate  neighborhood  and  is  happily  married  to  a  ivoman  of  his  own 
race.  Fate  lures  him  to  the  Jap's  cabin,  where  opportunity  is  presented  to  him  to  make 
amends.  In  a  struggle  he  accidentally  kills  the  woman  and  escapes.  But  the  in- 
furiated Jap  pursues  him  and  finishes  his  earthly  career. 

Then  into  his  life  comes  the  widow  of  the  scoundrel.  She  is  ignorant  of  her 
husband's  death  and  the  Jap  has  no  knowledge  of  her  relationship.  The  shadoivs 
which  have  crept  out  of  his  life  return  to  torment  him,  for  when  she  employs  him  to 
paint  a  portrait  of  her  husband  the  aivful  truth  dau'ns  on  him.  He  goes  through  with 
his  hated  task  out  of  love  and  respect  for  the  beautiful  white  woman.  But  when  the 
canvas  is  finished  the  likeness  arouses  his  anger  to  the  highest  pitch,  and  luith  one 
stroke  he  slashes  the  painting.  How  the  shadow  mounts  in  his  life,  how  he  confesses 
to  the  crime  but  spares  the  ividozv  the  evidence  ivhich  ivould  free  him  because  she  had 
thought  her  husband  noble,  marks  a  climax  ivhich  is  intensity  itself. 

This  very  thrilling  and  dramatic  story  is  based  upon  the  use  and  repetition  of 
three  basic  situations;  III,  ("Crime  Pursued  by  Vengeance")  ;  XXXIII,  ("Erroneous 
Judgment"),  and  XXI,  ("Self-sacrifice  for  Kindred  and  for  a  Loved  One").  The 
basic  idea  of  a  man  avenging  the  wrong  done  his  sister  by  a  man  of  another  race  is, 
of  course,  not  new,  but  the  novelty  and  the  dramatic  intensity  of  the  story  comes 
from  the  love  that  develops  between  the  Japanese  and  the  white  woman,  which  involves 
something  of  Situation  XXIX,  ("An  Enemy  Loved"). 

This  story  may  be  considered  as  a  good  example  of  the  use  of  the  theme  of 
vengeance,  which  in  this  case  is  wisely  tempered  with  self-sacrifice  and  nobility.  It 
supplies  a  very  powerful  role  for  the  star  in  question,  whose  personality  and  race  are 
well  suited  to  portrayals  of  avenging  heroes. 

This  story  was  obviously  written  for  Hayakawa,  which  is  in  general  an  unwise 
practice.  But  if  the  photoplaywright  feels  sure  that  he  has  a  story  specifically  suited 
to  the  personality  of  a  certain  star,  it  should  be  given  its  chance  to  achieve  production. 

"THE  GREAT  AIR  ROBBERY." 

(Universal  production;  story  by  Jacques  Jaccard  and  George  Hively;  directed 
by  Jacques  Jaccard;  starring  Lieut.  O.  L.  Lncklear.) 

92 


Synopsis. 

Wallie  Mason,  aviator,  and  Larry  Cassidy,  air  pilot,  in  U.  S.  Mail  Service,  go  on 
furlough.  A  gang  of  aerial  bandits  are  operating  as  the  "Death  Squadron,"  led  by 
Chester  Van  Arland.  The  latter  plans  to  seize  a  shipment  of  gold  going  by  mid- 
night plane  to  the  l-Fashington  Mint.  Van  Arland  obtains  possession  by  crooked 
means  of  a  croix  de  guerre,  won  by  Wallie  in  France  and  given  by  him  to  Beryl 
Caruthers.  Van  Arland  mails  this  cross  to  himself  at  a  New  York  address  and  tells 
the  jealous  Wallie  he  can  get  it  back  by  betraying  the  route  of  the  plane  on  which 
it  is  shipped,  which  also  carries  the  gold.  IVallie  consents,  recovers  the  cross  and 
the  gold  is  stolen.  There  follows  a  series  of  wild  aerial  adventures  in  which  Larry 
and  H'allie  take  part.  The  bandits  are  captured.  Wallie  is  killed  and  Larry  wins 
Beryl 

This  story  is  worthy  of  note  because  it  is  the  first  of  the  aerial  thrillers  and  has 
proved  very  successful  on  account  of  its  unique  place  amonj;  photoplays.  The  story 
in  itself  is  very  simple,  and  of  the  serial  type,  depending  basically  upon  the  convenient 
melodramatic  situations  of  "Pursuit,"  (V),  and  "Daring  Enterprise,"  (IX).  The 
actual  production  was  distinguished  by  many  unusual  aerial  thrills  and  the  story  is 
of  secondary  importance. 

Many  beginning  writers,  especially  those  with  a  love  of  adventure  and  romance, 
make  use  of  similar  thrilling  stunts  in  their  stories  to  produce  dramatic  effect.  But  in  a 
story  such  stunts  can  only  be  described  in  a  narrative  manner;  they  depend  not  upon 
the  skill  of  the  dramatist  but  upon  the  agility  of  the  actors.  Therefore  there  is  little 
dramatic  value  in  them  so  far  as  the  author's  work  is  concerned,  and  producers  are 
not  likely  to  be  impressed  with  them  in  stories  unless  they  occur  as  the  very  natural 
and  logical  result  of  genuine  dramatic  conflicts.  It  is  far  better,  generally  speaking, 
for  the  writer  to  deal  with  the  fundamental  human  emotional  conflicts  than  with 
mechanical  thrills  of  this  kind. 

"THE  GREAT  ROMANCE." 

(Produced  by  Screen  Classics;  starring  Harold  Lockwood;  story  and  scenario  by 
Finis  Fox;  directed  by  Henry  Otto.) 

Synopsis. 

Rupert  Danza,  a  student  at  Columbia  University,  is  one  day  approached  by  a 
gentleman  of  title,  calling  upon  him  to  return  to  his  native  kingdom  of  Rugaria  and 
settle  its  political  destinies.  The  idea  doesn't  appeal  to  Rupert  in  the  least,  for  he  is 
a  staunch  believer  in  the  principles  of  freedom  and  democracy  as  embodied  in  the 
United  States.  Hoivever,  when  he  learns  that  the  only  girl,  Althca  Hamvay,  has 
been  kidnapped  by  her  mother  and  father  to  marry  a  title — the  title  being  Prince 
Boris — he  sits  up  and  takes  notice  and,  to  make  the  story  short,  arrives  in  Rugaria 
on  the  very  next  steamer. 

Arrived  there,  he  learns  that  his  mission  is  to  lead  a  band  of  revolutionists  against 
King  Rudolph,  a  monarch  who,  like  many  others  of  his  time,  has  proven  a  rank  failure 
in  operating  a  government.  This  makes  it  all  particularly  interesting  when  Rupert 
considers  that  Althea  is  being  pushed  off  on  the  king's  son  by  her  very  vain  parents. 
However,  Althea's  heart  is  with  Rupert  altogether  and  when  Rupert  gets  in  touch 
with  her — osculating  touch,  to  be  correct — she  again  vows  that  she  will  never  marry 
Prince  Boris  and  that  she  is  Rupert's  and  only  his.    Rupert  is  far  from  being  displeased. 

Then  things  happen.  An  anarchist  takes  a  shot  at  the  king  and  brings  him  to 
his  bed  as  a  result.  A  countess  makes  the  confession  that  Rupert  is  the  real  heir  to 
the  throne,  having  been  kidnapped  when  a  child,  by  the  revolutionists,  and  sent  to 
America  to  absorb  democracy.  So  King  Rudolph  dies  and  Rupert — quite  naturally — 
renounces  the  throne,  although  he  does  permit  the  people  to  elect  him  President,  while 
he  elects  Althea  as  his  wife. 

93 


This  photoplay  is  an  example  of  a  familiar  type  of  romance — it  is  a  mythical 
kingdom  story,  and  bears  a  close  resemblance  to  numerous  others  of  the  same  kind 
and  to  some  stories  of  South  or  Central  American  republics  that  have  been  produced. 
There  is  a  great  deal  of  romantic  interest,  though  not  much  reflection  of  reality,  in 
such  themes  and  they  have  therefore  been  rather  popular.  The  successful  novels  of 
Anthony  Hope,  George  Barr  McCutcheon  and  Harold  MacGrath  may  be  cited  as 
examples  of  the  same  idea  used  in  fiction.  Unless  the  photoplaywright  can  bring  to 
the  subject  a  fresh  and  distinctive  treatment,  it  is  one  that  should  be  avoided. 

The  story  involves  Situation  X,  ("Abduction");  V,  ("Pursuit");  IX,  ("Dar- 
ing Enterprise");  XXVHI,  ("Obstacles  to  Love"),  and  VHI,  ("Revolt"). 

The  revelation  at  the  end  of  the  story,  that  Rupert  is  the  real  heir  having  been 
kidnapped  in  early  childhood,  is  especially  a  timeworn  plot  element,  and  one  that  fre- 
quently appears  in  the  work  of  amateurs.  In  this  case,  the  frankly  romantic  nature 
of  the  story  makes  it  partially  allovvrable. 

"THE  GROUCH." 

(Produced  by  World;  starring  Montague  Love;  story  by  Forrest  Halsey;  sce- 
nario by  Clara  Beranger;  directed  by  Oscar  Apfel.) 

Synopsis. 

Donald  Graham  is  an  ex-convict  and  is  shunned  by  all  men.  After  being  discharged 
from  a  surveyor's  troupe  busy  lining  out  an  almost  impenetrable  southern  sicamp,  he 
takes  a  position  as  caretaker  of  a  house  near  by.  To  this  place  comes  one  Fleurette, 
a  member  of  the  band  of  Okfces,  pirates'  descendants  ivho  still  steal,  ravage  and 
plunder.  Fleurette  has  flown  her  wedding  feast  because  the  man  she  was  to  marry 
proved  himself  a  coward  when  struck  down  by  the  chief.  Graham,  bitter  toivard 
all  women  because  of  his  wife's  faithlessness,  greets  Fleurette  coldly.  He  insists  that 
she  dress  as  a  boy  and  take  the  name  of  Bill.  One  night  the  Okfees  attempt  to  take 
Fleurette  aivay  and  Graham  fights  for  her.  Afterwards  the  two  strike  out  along 
the  road  together. 

In  one  town  Graham  learns  that  he  has  inherited  a  fortune.  By  this  time  he 
has  grown  to  really  love  Fleurette,  and  with  her  as  his  wife  he  returns  to  the  city. 
There  he  plans  a  revenge.  Corinne,  once  his  wife,  has  married  again.  Through  the 
market  Graham  attacks  this  man.  Branch,  and  succeeds  in  accomplishing  his  ruin. 
Then  Corinne,  fickle  and  selfish  as  of  yore,  again  offers  herself  to  Graham.  He  pre- 
tends to  accept  her  proposal  and  meets  her  at  a  roadhouse.  Here,  however,  he  tells  her 
that  it  is  all  his  revenge.  He  is  about  to  strangle  Corrine  when,  in  desperation,  she 
tells  him  that  he  will  find  Fleurette  with  her  husband. 

This  is  true,  Fleurette  has  gone  to  Branch  in  order  to  give  Graham  grounds  for 
divorce.  But,  wild  and  impassioned,  she  had,  at  the  last  moment,  set  fire  to  the 
house,  intending  to  die  and  take  Branch  with  her.  Graham  arrives  just  in  time  to 
save  her.  Branch,  too,  is  saved,  and  his  greatest  punishment  is  to  remain  alive  ivith 
the  mercenary  Corinne. 

The  motivating  situation  of  this  story  is  the  Ilird,  ("Crime  Pursued  by  Ven- 
geance"), vifhile  with  it  are  combined  XXXII,  ("Mistaken  Jealousy")  ;  VII,  ("Falling 
Prey  to  Cruelty  or  Misfortune"),  and  to  a  degree  VI,   ("Disaster"). 

The  discovery  on  the  part  of  Graham  that  he  has  fallen  heir  to  a  fortune  is  a 
rather  accidental  happening,  and  it  has  all  the  appearance  of  artificiality.  And  the 
sudden  desire  to  exact  vengeance  for  a  wrong  of  some  time  past  does  not  quite  ring 
true.  In  fact,  the  entire  latter  half  of  the  story  might  have  been  developed  along  much 
stronger  and  more  dramatic  lines.  The  story  is  of  especial  interest  to  the  photoplay- 
wright because  it  deals  with  the  stock  exchange.  A  great  many  photoplays  have  simi- 
larly dealt  with  this  material,  and  it  is  one  that  many  writers  incorporate  into  their 
stories.  But  it  is  subject  to  a  fundamental  objection.  It  does  not  make  a  poignant 
emotional  appeal  to  the  average  spectator,  and  it  deals  with  a  locale  that  lacks  pic- 
turesque and  dramatic  interest. 

94 


If,  in  this  case,  the  author  had  developed  a  strong  story  up^jn  tlu'  premise  sug- 
gested by  the  opening  episodes,  he  would  probably  have  achieved  much  finer  results. 
For  the  opening  episodes  are  colorful,  romantic,  unusual  and  of  genuine  dramatic  value. 

In  this  story,  too,  we  meet  the  woman  of  the  "vampire"  type  in  the  person  of 
Corinne.  Doubtless  there  are  such  women  in  real  life,  but  when  they  are  portrayed 
in  colors  too  black  merely  for  dramatic  effect  they  are  unreal  and  unappealing.  They 
are  merely  typical,  and  they  seldom  possess  the  individuality  of  lifelike  characters. 
The  villain,  male  or  female,  is  naturally  the  most  diflicult  character  to  portray,  and 
while  it  is  necessary  to  have  a  sharp  dramatic  contrast  between  your  characters  it  is 
not  necessary  to  make  one  of  them  thoroughly  and  unbelievably  wicked.  Characters 
should  be  lifelike  rather  than  anything  else,  first  of  all,  and  then  they  should  really 
fit  into  a  story. 

From  this  story,  then,  the  author  may  learn  to  avoid  such  artificial  and  super- 
ficial locales  as  the  stock  market  and  such  typical  and  unreal  characters  as  Corinne. 

"HAPPY  THOUGH  MARRIED." 

(Produced  by  Paramount;  Thomas  H.  Ince  supervision;  starring  Enid  Bennett; 
story  by  Lois  and  Arthur  Zellner;  scenario  by  C.  Gardner  Sullivan;  directed  by  Fred 
Niblo.) 

Synopsis. 

Stanley  and  Jim  Alontjoy  leave  for  South  America  to  develop  mining  property 
there  and  Stanley,  before  going,  takes  fond  leave  of  his  sweetheart,  Alillicent  Lee.  In 
South  America  all  does  not  go  ivell  luith  the  tiuo  brothers'  financial  project  until  a 
wily  old  Spaniard  makes  them  a  large  offer  for  the  mine.  They  are  about  to  accept 
when  Diana  Ramon,  the  Spaniard's  niece,  warns  them  not  to.  Further  research  in  the 
mine  discloses  a  rich  vein  of  ore  which  they  have  previously  overlooked.  They  are 
overjoyed  and  Jim  is  particularly  grateful  to  Diana. 

Stanley  leaves  at  once  for  the  states  and  immediately  marries  Millicent.  On 
their  wedding  day  Bob  Davies,  an  old  friend,  presents  them  with  a  book  entitled, 
"How  to  be  Happy,  Though  Married,"  a  volume  filled  with  cynical  advice  for  young 
couples.  Millicent  finds  certain  passages  underscored  and  believes  that  her  husband 
is  the  guilty  party.  She  begins  to  follow  out  the  advice  literally  and  gets  in  trouble. 
The  trouble  is  in  no  wise  lessened  when  she  discovers  a  picture  of  Diana  in  Stanley's 
trunk.      The  book  hints  at  a  dark  and  mysterious  past.     Millicent  isn't  comfortable. 

Stanley  hears  from  Jim  and  Diana,  to  the  effect  that  they  have  been  married  and 
to  meet  them  at  the  station  as  they  are  returning.  In  the  crowd  Jim  is  separated 
from  his  brother  and  wife.  Stanley  takes  Diana  home,  leaves  her  and  goes  out  in 
search  of  Jim.  Naturally,  luhen  Millicent  arrives  home  she  recognizes  the  Spanish 
beauty.  Diana  can't  speak  English  and  there  is  the  very  devil  to  pay  until  finally 
the  brothers  arrive  home  and  straighten  matters  out  for  the  happiness  of  all  concerned. 

This  story  is  an  excellent  example  of  a  simple  but  delightfully  efTective^  comedy 
drama.  It  is  based  primarily  upon  Situation  IX,  ("Daring  Enterprise"),  Situation 
XXIX,  ("An  Enemy  Loved"),  and  upon  many  variations  of  XXXII,  ("Mistaken 
Jealousy").  The  unity  of  the  dramatic  action  is  not  materially  affected  by  the  fact 
that  the  characters  go  to  South  America,  for  ver>'  effective  dramatic  action  takes  place 
there  and  is  continued  logically  upon  the  return  of  Jim  and  Diana  to  the  United 
States.  There  is  no  disconcerting  break  in  the  unity  of  action,  and  Diana  must  be 
a  foreigner  in  order  to  prepare  the  way  for  the  subsequent  climax. 

As  in  most  comedies  and  comedy  drama,  the  plot  depends  upon  mistaken  jealousy 
used  in  a  light  and  comedic  manner.  It  is  worth  while  to  observe  that  this  same  plot 
idea  might  have  been  developed  in  a  one  or  two-reel  comedy,  though  with  muoi  less 
effectual  characterization  and  comedic  results.  The  use  of  the  book  and  the  young 
wife's  supposition  that  her  husband  has  had  a  multi-colored  past  is  novel  and  amusing, 
and  yet  it  is  a  sound  enough  theme  to  carry  conviction  with  the  comedy. 

95 


The  story  may  be  considered  as  a  splendid  example  of  comedy  drama,  and  the 
photoplaywright  should  endeavor  to  make  his  own  work  as  good  as  this  example.  It 
should  be  remembered,  however,  that  the  synopsis  given  above  is  a  mere  outline  of  the 
plot  and  that  there  were  many  clever  and  subtle  details  of  humor  in  the  story  itself 
that  are  not  even  suggested  by  so  brief  a  synopsis.  In  comedy  and  comedy  drama, 
however  slight  the  fundamental  plot  may  be,  the  action  should  be  worked  out  in  com- 
plete detail,  with  a  strong  vein  of  comedy  running  throughout  the  story. 

"THE  HAWK'S  TRAIL." 

(Synopsis  and  review  of  first  four  episodes  of  the  serial  produced  by  Burston. 
Story  by  Nan  Blair;  directed  by  W.  S.  Van  Dyke.) 

Synopsis — Episodes  1-4. 

Stanton  Steele  is  a  noted  crim'inologht  whose  hobby  is  tracking  down  crooks. 
"Iron"  Dugan,  in  order  to  obtain  the  fortunes  belonging  to  Jean  and  Claire  Drake, 
is  posing  as  their  uncle.  He  has  abducted  Jean  and  hidden  her  in  an  old  house,  but 
because  his  son  Bob,  who  knoivs  nothing  of  his  father's  evil  schemes,  is  in  love  with 
Claire  he  gives  her  a  comfortable  home.  Finally  realizing  that  Claire  is  a  menace  to 
his  schemes,  Dugan  attempts  to  do  away  with  her  and  sends  her  to  visit  a  Swami  in 
whose  house  numerous  men  are  waiting  to  abduct  the  girl.  Steele,  who  has  been 
hired  by  Claire,  to  unravel  a  mysterious  burglary,  learns  of  the  plot  and  hastening  to 
the  Swami's  home,  impersonates  him  and  routs  Dugan's  hired  crooks.  Dugan  ne.xt 
decoys  Claire  to  a  Chinese  criminal's  gambling  house  and  orders  her  to  be  killed. 
Again,  by  impersonating  a  Chinese  merchant,  Steele  is  able  to  rescue  Claire  who  is 
totally  unaware  that  her  uncle  is  treacherous.  Jean  sends  a  message  to  Claire  for 
help  and  Dugan,  intercepting  it,  sends  Claire  to  the  deserted  house  and  once  again 
plans  to  have  his  men  kill  her.  Steele  is  again  on  the  alert,  however,  and  manages  to 
save  Claire's  life  after  a  desperate  struggle. 

This  synopsis  of  the  inceptive  episodes  of  a  serial  presents  a  fair  example  of  the 
type  of  play  used  in  this  kind  of  production.  It  is,  of  course,  frankly  melodramatic, 
built  for  the  purpose  of  thrilling  the  spectator  by  swift  action,  hairbreadth  escapes  and 
tense  conflicts.  Pictures  of  this  kind  have  wide  popularity  with  certain  audiences, 
and  the  writer  who  possesses  technical  skill,  adroit  plot  ability,  and  a  vivid  melo- 
dramatic imagination  does  well  when  he  studies  the  serial  productions.  There  is 
always  a  demand  for  effective  and  unusual  serials,  and  very  high  prices  are  paid  for 
stories  of  this  kind. 

The  situations  that  appear  most  prominently  in  the  story  are  I,  ("Supplication")  ; 
II,  ("Deliverance");  X,  ("Abduction"),  and  XXX,  ("Ambition"),  together  with 
a  slight  use  of  XXXIII,  ("Erroneous  Judgment"),  in  the  very  beginning.  The  chief 
value  of  the  plot  as  a  combination  of  these  situations  is  as  an  illustration  of  the 
logical  development  of  not  wholly  convincing  premises.  If  one  will  grant  the  existence 
of  such  a  criminal  as  Dugan  and  the  existence  of  so  clever  a  detective  as  Steele  the 
plot  develops  with  reasonable  logic.  Occasionally,  as  in  most  serials,  the  long  arm 
of  coincidence  is  stretched,  but  on  the  whole  the  story  progresses  naturally  and  with 
effectiveness  towards  its  conclusion. 

It  will  be  observed  that  the  plot  plan  of  the  story  is  a  relatively  simple  one.  The 
complete  serial  contains  fifteen  episodes,  each  two  reels  in  length.  In  order  to  hold 
the  interest  of  the  audience  from  one  episode  to  another  it  is  necessary  to  place  the  hero 
or  heroine  or  both  in  a  very  tense  predicament  just  at  the  end  of  the  episode  and  then 
to  cut  the  picture.  You  will  observe  that  Dugan  is  attempting  to  get  rid  of  Claire. 
This  motive  recurs  in  each  episode,  giving  a  kind  of  unity  to  the  whole  production. 
The  end  of  each  episode  comes  when  the  heroine  is  apparently  in  the  power  of  Dugan. 
The  next  episode  opens  with  Steele  accomplishing  her  rescue. 

Some  one  has  said,  with  some  degree  of  accuracy,  that  a  serial  plot  is  one  that  is 
self-propelling.     That  is,  given  a  certain  conflict  of  strong  forces,  such  as  the  conflict 

96 


between  Dugan  and  Steele,  so  many  phases  of  that  conflict  can  be  presented  that  tlie 
play  may  go  on  almost  indefinitely.  The  danger  lies,  of  course,  in  allowing  the  plot 
to  become  repetitious,  tedious  and  slow  in  movement.  Although  the  finished  structure 
of  a  serial  appears  simple,  its  actual  construction  is  a  task  requiring  genuine  technical 
skill. 

"THE  HELL  CAT." 

(Produced  by  Goldwyn;  starring  Geraldine  Farrar;  written  by  Willard  Mack; 
directed  by  Reginald  Barker.) 

Synopsis. 

Pancha  O'Brien,  daughter  of  a  Wyoming  sheep  raiser,  is  loved  by  Sheriff  Jack 
fVebb.  There  is  another  one,  Jim  Dike,  a  squaw  man  and  a  cattle  rancher,  who 
would  possess  her.     She  rebuffs  him  repeatedly. 

At  night  he  comes  to  the  O'Brien  ranch  and  shoots  down  Pancha's  father. 
The  girl  puts  up  a  terrific  fight  and  proves  that  she  is  a  veritable  hell  cat.  Dike, 
however,  carries  her  away  to  his  ranch. 

Dike's  squaiu  steals  into  Pancha's  room,  intent  on  stabbing  her;  but  when  Pancha 
explains  the  Indian  knows  that  it  is  Dike  who  must  be  punished.  She  dashes  off  to 
tell  the  sheriff.  In  order  to  win  Pancha  back  to  responsiveness.  Dike  offers  to  marry 
her  and  take  her  East.     The  girl  consents. 

On  the  way  to  Cheyenne  Sheriff  Jack  Webb  and  his  posse  spring  from  behind 
rocks  and  cover  Jim  Dike  with  their  guns.  The  cattleman  sits  in  the  buckboard, 
stiffly  erect.  The  posse  approaches.  He  topples  over,  dead,  with  the  dagger  Pancha 
had  wrested  from  the  Indian  in  his  heart. 

This  melodrama  of  the  West  is  based  upon  Situations  I  and  H,  ("Supplication") 
and  ("Deliverance");  VI,  ("Disaster");  X,  ("Abduction"),  and  in  the  surprise 
ending  XXXIII,  ("Erroneous  Judgment").  It  is  useful  as  a  typical  melodrama  of 
the  kind  that  has  been  produced  in  large  numbers  against  the  background  of  the  West. 
The  feud  between  the  cattlemen  and  the  sheep  barons,  the  squaw  man  whose  squaw 
plays  him  false,  the  typical  pursuing  villain  and  the  brave  and  noble  sheriff-hero — 
these  plot  elements  constantly  recur  in  melodrama  of  this  kind.  There  is  distinctive 
novelty  and  dramatic  tension  in  the  manner  in  which  Pancha  kills  the  villain,  but  it 
is  rather  grewsome  and  fundamentally  dependent  upon  the  accident  of  opportunity 
she  had  to  plunge  the  dagger  into  his  back.  It  may  be  classed  as  an  effective  dra- 
matic trick  rather  than  as  a  logical  and  plausible  use  of  dramatic  material. 

More  and  more  the  producers  are  avoiding  melodramas  of  this  type.  The  de- 
mand is  for  thoroughly  novel  stories  of  the  West  as  it  is,  rather  than  for  such  sensa- 
tional tales  out  of  the  past.  In  this  case,  the  implausibility  of  the  story  lies  in  the 
character  of  Dike,  who  is  an  altogether  typical  villain. 

The  success  and  value  of  this  picture  depended  more  upon  the  acting  and  direc- 
tion than  upon  the  strength  of  the  story,  but  it  is  only  just  to  say  that  the  direction  was 
very  fine  and  the  acting  exceedingly  forceful. 

"HER  BRIDAL  NIGHT-MARE." 
(Christie  Special  Comedy  in  two  reels;  story  by  Ora  Carew.) 

Synopsis. 
The  hero  and  heroine  are  about  to  be  married  when  a  jealous  suitor  of  the  girl 
hires  a  burglar  to  make  nivay  with  the  bridegroom's  wedding  clothes.  The  bride 
decides  to  commit  suicide  when  the  hero  does  not  arrive  and  is  then  almost  persuaded 
to  marry  the  villain.  The  hero  is  arrested  for  being  on  the  street  in  his  B.V.D.'s,but 
after  explanations  at  the  police  station  he  is  given  a  uniform  and  allowed  to  go.  The 
burglar  learns  of  the  wedding  and  steals  the  presents,  and  there  meets  the  villain 
who  had  previously  hired  him.  The  hero  returns  and  the  villain  is  exposed  and 
thrown  out  by  the  hero,  who  is  then  happily  married. 

97 


The  basic  conflict  of  this  story  between  the  bridegroom  and  the  jealous  suitor 
might  have  led  to  a  very  amusing  situation  comedy,  but  the  author  and  producers 
chose  to  make  of  it  a  burlesque  and  farce  and  relied  upon  the  familiar  "chase"  of  slap- 
stick to  provide  most  of  the  laughs.  Burlesque  and  farce  are  becoming  less  and  less 
popular,  and  there  is  no  real  demand  for  stories  of  this  type.  The  comedy  producers 
are  desirous  of  polite,  plausible  situation  comedies,  preferably  founded  upon  an  amus- 
ing situation  that  might  very  naturally  occur  in  the  life  of  almost  any  spectator. 

In  this  case  the  opening  situation,  a  combination  of  XXIV  ("Rivalry  of  Superior 
and  Inferior")  and  VII  ("Falling  Prey  to  Cruelty  and  Disaster"),  provides  a  very 
good  basis  for  a  situation  comedy  with  a  universal  appeal.  As  is  often  the  case,  how- 
ever, the  author  allowed  the  plot  to  lapse  into  farce.  One  of  the  greatest  difficulties  in 
writing  comedy  is  the  difficulty  of  preserving  the  action  upon  the  plane  of  straight 
comedy  and  maintaining  it  above  farce  and  burlesque.  It  requires  little  imaginative 
skill  to  write  burlesque,  but  to  construct  straight  comedy  one  must  be  a  very  adroit 
craftsman. 

"HER  ELEPHANT  MAN." 

(Fox  Production;  story  by  Pearl  Doles  Bell;  scenario  by  Isabelle  Johnson; 
directed  by  Scott  Dunlap;  starring  Shirley  Mason.) 

Synopsis. 

Little  Joan  Kennedy  is  left  an  orphan  on  the  death  of  her  father,  a  missionary 
in  darkest  Africa,  and  she  is  delivered  into  the  care  of  visiting  white  men  by  the 
natives  whom  her  father  had  taught.  Among  the  white  men  are  Philip  Dorset,  a  rich 
young  Englishman  who  is  hunting  big  game  while  trying  to  forget  an  unhappy  mar- 
riage at  home,  and  Jerimy,  the  animal  man  with  a  circus,  who  is  in  Africa  to  buy 
elephants.  They  bring  Joan  to  the  United  .States,  and  when  the  child  grows  older 
she  becomes  an  equestrienne  in  the  circus,  to  luhich  Philip  also  is  attached  as  the  ele- 
phant man.  Believing  her  husband  killed  in  Africa,  Mrs.  Dorset  remarries.  Philip 
learns  of  this,  but  takes  no  action,  as  a  child  had  been  born  to  the  former  Mrs. 
Dorset.  A  love  affair  develops  between  Joan  and  "her  elephant  man,"  and  Philip 
quits  the  circus  while  arranging  for  a  divorce.  After  more  mishaps,  Philip  is  free 
and  returns  to  the  circus,  and  in  the  end,  following  a  terrific  Kansas  storm  which 
wrecks  "the  big  top,"  Joan  and  Philip  meet  to  part  no  more. 

Circus  pictures,  like  the  circus,  are  almost  always  popular,  and  in  this  case  the 
author  has  not  only  written  a  very  good  photoplay  of  circus  life,  but  has  also  created 
appealing  characters,  developed  an  unusual  introductory  romance,  and  complicated 
the  plot  with  just  enough  unhappiness  to  give  it  the  proper  dramatic  weight.  The 
opening  of  the  story,  despite  the  fact  that  it  takes  place  in  Africa,  is  a  very  effective 
one,  for  the  two  important  characters  are  introduced  in  an  unusual  and  picturesque 
environment  that  furnishes  a  very  natural  prelude  for  the  later  circus  life.  The  im- 
portant characters  are  introduced,  some  suggestion  of  romance  and  future  life  estab- 
lished, and  then  the  story  opens  under  the  Big  Top,  progressing  naturally  to  the  end. 
The  sub-plot  involving  the  hero's  first  wife  is  in  itself  timeworn,  but  it  serves  well 
to  develop  his  character  and  to  present  an  obstacle  to  his  love  for  Joan.  It  should  be 
observed  that  his  attitude  when  he  learns  of  his  first  wife's  marriage  is  novel  because 
it  is  combined  with  his  new  love. 

The  situations  that  occur  in  the  plot  prominently  are  VII,  ("Falling  Prey  to 
Cruelty  and  Misfortune"),  a  slight  form  of  IX,  ("Daring  Enterprise");  XXXIII, 
("Erroneous  Judgment"),  and  XXVIII,  ("Obstacles  to  Love"). 

There  iiave  been  many  circus  stories  written  and  produced  in  the  past  and  most 
of  those  written  by  beginning  photoplaywrights  follow  more  or  less  closely  the  ex- 
hausted formula  for  such  stories.  But  there  will  always  be  some  demand  for  really 
good  circus  stories  and  the  writer  who  is  familiar  with  this  subject  and  this  locale 
should  endeavor  to  make  his  work  as  distinctive,  in  characterization  and  plot,  as  "Her 
Elephant  Man." 

9t 


"HER  GREATEST  PERFORMANCE." 

(Produced  in  England  for  Triangle;  starring  Ellen  Terry;  author  and  direction 
not  credited;  a  typical  star  vehicle.) 

Synopsis. 

Poitraying  a  favorite  actress  who  lias  retired  from  the  profession  and  anxious  to 
see  her  young  son  elevated  to  stardom,  the  old  mother  visits  the  theatre  and  witnesses 
his   great    triumph. 

The  son  is  sentenced  to  ten  years  in  prison  for  manslaughter.  There  has  been 
home  alone,  where  she  lives  with  her  son's  fiancee.  The  son  celebrates  with  the  boys 
at  the  club  and  afterivards  becomes  involved  in  cards  and  drink.  During  this  time 
the  son  strikes  a  man  who  is  afterwards  killed  by  another  man  who  is  wealthy. 

The  son  is  sentenced  to  ten  years  in  prison  for  manslaughter.  There  has  been 
an  eye-witness  to  the  killing,  however.  Blackmail  silences  her  for  awhile,  until  on 
her  death  bed  the  old  woman  confesses  to  the  retired  actress  that  the  wealthy  man 
had  committed  the  crime  that  her  son  had  been  convicted  for. 

Then  the  great  actress  ivas  called  upon  to  render  "Her  Greatest  Performance." 
She  made  herself  up  as  an  exact  likeness  of  the  dead  woman  and  demanding  in  that 
character  more  hush  money  from  the  ivealthy  man  she  leads  him  to  actually  confess 
the  crime  in  the  presence  of  hidden  witnesses. 

And  her  son  is  free  to  join  his  mother  and  wed  his  fiancee. 

The  situations  upon  which  this  story  is  based  are  XXI  and  XXII,  two  forms 
of  sacrifice,  and  upon  XXXIII,  ("Erroneous  Judgment"),  embodying  the  well-u-orn 
circumstantial  evidence. 

The  story  is  particularly  useful  as  an  example  because  it  involves  the  very  hack- 
neyed plot  idea  of  a  man  being  sent  to  prison  for  murder  because  another  person  had 
been  killed  after  being  struck  or  threatened  by  the  protagonist.  This  idea  has  been 
used  so  very  often  that  it  is  thoroughly  timeworn,  and  it  is  fundainentally  dependent 
upon  chance  and  should  be  avoided.  The  story  further  involves  the  idea  of  a  dying 
confession  by  a  witness  of  the  crime,  and  an  enforced  confession  by  the  villain  himself. 
And  the  use  of  disguise  to  obtain  the  confession  is  also  very  hackneyed,  although  in 
this  case  it  was  somewhat  allowable  because  it  suits  the  talent  of  the  leading  actress. 
But  dying  confessions,  circumstantial  evidence  and  disguised  characters  are  three  very 
timeworn  plot  devices,  and  if  this  story  had  not  been  written  to  provide  Miss  Terry 
with  a  suitable  role  it  would  probably  never  have  been  produced.  The  fundamental 
triteness  of  the  plot  makes  it  all  the  more  valuable  as  an  example,  and  it  should  receive 
the  careful  attention  of  the  many  writers  who  frequently  make  use  of  these  same  hack- 
neyed plot  ideas. 

"HER  INSPIRATION." 

(Produced  by  Metro;  starring  May  Allison;  story  and  scenario  by  George  D, 
Baker  and  Tom  Geraghty;  directed  by  Robert  Thornby.) 

Synopsis. 

Harold  Montague,  a  young  playwright,  is  told  by  the  manager  that  his  latest 
opus  lacks  proper  atmosphere  and  as  it  is  a  moonshine  story,  Harold  takes  himself  off 
to  the  Kentucky  mountains,  there  to  meet  the  originals  of  the  counterparts  of  his  play. 
He  becomes  acquainted  ivith  such  denizens  of  the  mountains  as  Curt  Moots,  Big  Hank 
and  Loony  Lige — and  last,  but  not  by  any  manner  of  means  least,  ivith  Kate  Kendall — 
a  wild  mountain  crew  all  of  them — just  the  right  people  to  contribute  to  Harold  that 
atmosphere  he  needs  to  put  his  play  over. 

Of  course,  the  moonshiners  regard  him  suspiciously,  particularly  Big  Hank,  who 
sees  him  making  progress  in  a  romance  with  Kate  and  doesn't  like  it  at  all.  Big  Hank 
tries  to  interpret  every   move  made  by  Harold  as  that   of  a  revenue   officer.     The 

99 


others,  however,  accept  him  for  what  he  is.  Loony  Lige,  a  half-witted  and  self- 
constituted  guardian  of  Kate,  nurses  a  hatred  for  Big  Hank  that  is  augmented  into 
a  fury  when  he  sees  him  trying  to  kiss  the  girl.  He  threatens  to  go  for  the  revenue 
officers  and  give  away  the  secrets  of  the  illicit  still. 

Soon  after,  twelve  revenue  officers  arrive.  Harold,  not  knowing  who  they  are, 
directs  them  to  the  hiding  place  of  the  moonshiners.  Big  Hank  sees  him  and  decides 
that  he  must  hang.  He  is  only  prevented  by  the  arrival  of  Looney  Lige  at  the  head 
of  the  band  of  officers.  After  this,  Harold  decides  that  he  has  atmosphere  enough 
and  that  he  must  return  to  the  city,  because  it  would  never  do  to  marry  an  uncouth 
girl  of  the  mountains,  no  matter  how  much  he  loves  her.  As  he  is  watching  the 
rehearsal  of  his  play  the  manager  requests  that  he  meet  the  leading  lady — Kate  Ken- 
dall, who  strange  enough,  was  also  seeking  atmosphere. 

This  comedy  drama  is  basically  a  combination  of  Situations  II  ("Deliverance") 
and  XXXIII  ("Erroneous  Judgment").  Its  plot  is  by  no  means  novel,  either  in  theme 
or  treatment,  and  it  lacks  the  sound  foundation  of  the  comedy  drama  we  considered 
before,  "Happy  Though  Married."  It  has  little  relation  to  reality  and  the  absence 
of  theme  is  noteworthy,  but  as  an  example  of  the  photoplay  with  the  "trick"  ending 
it  is  useful. 

The  same  story,  so  far  as  the  fundamental  plot  and  the  surprise  ending  are  con- 
cerned, has  been  produced  and  written  many  times  before.  It  is  the  familiar  tale  of 
adventures  of  misunderstood  and  misunderstanding  characters  among  moonshiners  or 
other  outlaws.  It  is  doubtful  whether  a  story  of  this  tj'pe  will  again  gain  much  popu- 
larity, for  the  surprise  is  no  longer  surprising,  and  the  average  sophisticated  spectator 
can  see  through  such  a  plot  very  quickly.  In  general,  it  is  very  unwise  for  the  author 
to  try  to  keep  a  secret  from  the  audience,  and  this  is  especially  true  in  five-reel  photo- 
plays. Very,  very  seldom  is  the  secret  kept,  and  when  it  is,  as  in  this  case,  it  is  apt  to 
be  surprising  for  the  moment,  but  it  will  lack  conviction.  Always  the  dramatist  should 
remember  that  one  of  his  primary  aims  is  to  produce  the  illusion  of  reality,  and  plots 
should  be  avoided  which  do  not  advance  that  aim. 

In  short  photoplays,  of  one  or  two  reels,  or  in  one-act  stage  plays  or  short  stories 
such  a  technical  trick  is  allowable,  for  suspense  of  this  kind  can  be  maintained  for  a 
brief  period  of  time.  But  in  longer  and  more  serious  efforts,  they  are  almost  always 
ineffective  and  should  be  used  with  care  and  keen  analysis. 

"HIP-HIP-HYPNOTISM." 
(One- reel  Gayety  Comedy;  featuring  George  Ovey.) 

Synopsis. 

George  cannot  cat  because  he  has  not  paid  his  board  hill,  so  he  retires  to  his  room 
and  bloic's  his  trombone.  One  of  the  other  boarders  throws  a  book  at  him,  which  he 
then  discovers  to  be  a  work  on  hypnotism.  He  quickly  masters  its  principles  and  sets 
to  work  to  hypnotize  the  landlady  into  believing  he  has  paid  the  bill.  She,  thinking 
he  has  lost  his  mind,  gives  him  food.  Everyone  thinks  he  is  a  fraud,  even  his  siveet- 
heart,  but  when  a  burglar  enters  the  house  and  has  everyone  cowed,  George  subdues 
him  by  foul  means  and  then  claims  that  he  has  him  hypnotized.  All  the  other  boarders 
apologize  for  thinking  him  a  fraud,  and  his  girl  tells  him  that  whether  or  not  he's  a 
fraud  he  has  her  hypnotized. 

This  very  short  comedy  is  founded  entirely  upon  variations  of  Situation  XXXIII 
("Erroneous  Judgment"),  and  follows  a  simple  and  familiar  formula.  A  sympatlietic 
character  claims  to  be  able  to  do  a  certain  thing;  no  one  believes  him;  he  accomplishes 
a  certain  end  by  a  quite  different  means  and  thus  becomes  a  hero.  This  same  formula 
has  been  employed  many  times  in  short  comedy  and  it  is  usually  effective  when  it  is 
treated  in  a  slightly  new  way.  The  use  of  hypnotism  in  this  case  gives  it  a  clever  unity 
and  makes  plausible  the  farcical  basis.     In  the  same  way,  however,  the  formula  has 

100 


been  used  with  a  hero  who  claimed  to  be  an  expert  at  jiu-jitsu,  at  poker,  at  winning 
women,  at  baseball,  at  drinking,  at  speaking  a  foreign  language,  etc.  The  amusing 
recoil  inherent  in  such  a  plot,  the  sudden  victory  of  the  unappreciated  character,  the 
humbling  of  the  skeptics  combine  to  give  the  formula  a  sound  basis,  but  it  should  be 
remembered  that  only  when  it  is  treated  in  a  really  distinctive  way,  with  many  human 
and  amusing  incidents,  can  it  be  considered  worthy  of  proilu,ctian.  .    ,  ,.      . 


'INFATUATION. 


(Produced  in  France  by  Eclipse;  starring  Gaby'Desly*;  ivfit'teni'by  •jkiariiel 
L'Herbier;  directed  by  Louis  Mercanton.) 

Synopsis. 

Flora  Nys,  a  poor  flower  girl  of  Paris,  faces  hard  times.  Her  rent  overdue,  Li 
Baron,  the  landlord,  oppresses  her  and  puts  before  her  a  shady  proposition.  Indig- 
nantly she  orders  him  out  of  her  room.  When  she  takes  up  her  flowers,  preparatory 
to  going  forth  to  sell  them,  she  discovers  that  Le  Baron  has  trampled  on  them. 
Tempted  by  her  poverty,  she  steals  a  fur  in  a  department  store.  Le  Baron  sees  her  and 
follows  her  into  the  street,  where  the  girl,  conscience-stricken,  throws  it  away.  Le 
Baron  picks  it  up  and  follows  her  to  the  home  of  Paul  Bernard,  an  actor,  who  every 
year  gives  a  Christmas  party  to  certain  poor  children  of  Paris.  Bernard  redeems  the 
fur  and,  attracted  by  Flora's  loveliness,  asks  her  to  become  his  wife. 

In  time  Flora  becomes  an  expert  dancer  and  leading  woman  at  Bernard's  theatre. 
Gray  Stanton,  a  wealthy  rounder,  attracts  Flora.  He  endeavors  to  entice  her  away 
from  her  husband,  in  which  task  he  is  assisted  by  Le  Baron,  who  harbors  revenge.  On 
the  night  of  the  opening  of  a  new  production.  Flora  deserts  the  theatre,  influenced  by  a 
trumped-up  story  regarding  Stanton's  injury.  She  discovers  the  lie  and  returns  to 
Paris  to  discover  that  her  husband  is  suffering  from  an  attack  of  brain  fever  occasioned 
by  her  flight.  She  devotes  her  time  in  efforts  to  bring  back  his  memory  and  finally 
when  another  Christmas  rolls  around  she  dons  her  old  clothes  and  sits  before  the  open 
fireplace  as  she  did  ivhen  Bernard  first  met  her.  This  has  the  desired  effect.  Bernard's 
memory  is  restored  and  he  readily  forgives  the  past  when  he  learns  the  unhappy  story 
of  Stanton  from  his  wife's  own  lips. 

Situation  VII  ("Falling  Prey  to  Cruelty  or  Misfortune"),  which  is  a  very  con- 
venient inceptive  situation  for  stories  of  poor  girls,  opens  "Infatuation."  "Ambition" 
(XXX)  follows,  in  Flora's  desire  to  win  happiness  for  herself,  and  with  it  is  combined, 
XVII  ("Fatal  Imprudence"),  in  her  theft  of  the  fur.  Le  Baron  is  a  very  conven- 
tional villain,  of  the  old  familiar  type  that  "still  pursues"  the  heroine,  but  the  inter- 
esting part  of  the  story  begins  with  Bernard's  rescue  of  the  girl,  involving  Situation  II 
("Deliverance").  Flora's  desertion  of  Bernard  is  a  case  of  XXXIII  ("Erroneous 
Judgment"),  and  its  effect  on  Bernard  involves  Situations  VI  and  V^II. 

The  story  is  a  noteworthy  example  because  of  the  use  of  the  hackneyed  idea  we 
have  already  mentioned ;  the  loss  and  recovery  of  memory  on  the  part  of  one  of  the 
characters.  The  same  idea  has  been  used  in  almost  exactly  the  same  way  many  times, 
and  although  there  is  some  psychological  foundation  for  the  recoveiy  of  the  hero  after 
seeing  his  wife  in  the  same  garb  in  which  he  met  her  the  plot  is  so  thoroughly  hackneyed 
that  its  efTect  upon  the  spectator  is  doubtful.  One  knows,  as  soon  as  Bernard  becomes 
ill,  that  eventually  he  vvill  recover  in  some  such  way.  There  is,  consequently,  very 
little  suspense  in  the  story. 

In  the  actual  production,  the  characterization  of  the  heroine  and  hero  was  so 
carefvilly  developed  that  the  plot  was  more  convincing  than  it  otherwise  w'ould  have 
been.  But  the  author  should  not  rely  too  much  upon  skillful  production;  the  story  in 
itself  should  be  plausible  and  convincing  regardless  of  the  kind  of  production  it  achieves. 
In  general,  the  technical  advance  of  the  motion  picture  has  been  far  ahead  of  the  stories 
produced,  and  the  intelligent  producers  are  now  seeking  stories  worthy  of  skillful  and 
expensive  production. 

101 


"THE  INVISIBLE  BOND." 

(Paramount-Artcraft  production;  starring  Irene  Castle;  story  by  Sophie  Kerr 
Underwood;  scenario  and  direction  by  Charles  Maigne.) 

„  ..  Synopsis. 

Marcia  end  Harlech-  are  happily  married  and  live  in  perfect  harmony  until  a  de- 
signinn  yo'i-ifl  merman  named  Leila  Templeton  makes  her  appearance  in  their  home. 
Leila  is  I.  .flirt  frow  t}ie  wora  go  and  she  encourages  Harleth  to  pay  her  marked  atten- 
tion at  a  dinner  given  by  Alarcia.  This  is  the  beginning  of  a  misunderstanding  between 
Marcia  and  her  husband.  They  both  realize  their  love  for  each  other  is  great,  but 
stubbornness  on  the  one  side  and  wounded  vanity  on  the  other  finally  brings  a  separa- 
tion. Harleth  then  marries  Leila  and  that  fickle  lady  continues  her  flirtations  ivith 
other  men.  One  conquest  of  hers  goes  further  than  she  anticipates  and  the  man's  head 
becomes  turned.  He  gets  her  into  an  automobile  and  drives  it  over  a  cliff.  Both  are 
killed  and  luhen  word  reaches  Harleth  that  Mrs.  Crossey  has  been  killed  he  thinks  it 
Marcia  and  is  almost  distracted.  But  at  her  home  he  finds  Marcia  and  his  evident  joy 
at  seeing  her  safe  fills  Marcia  luith  happiness,  for  there  is  no  mistaking  that  what  he 
leaves  unsaid  is  love — the  invisible  bond. 

The  author  of  the  novel  from  which  this  photoplay  was  adapted  evidently  had  a 
dual  purpose;  first — to  present  a  study  of  modern  marriage;  second — to  entertain  even 
thoughtless  readers.  Unfortunately  both  for  the  novel  and  the  photoplay  the  two 
strands  of  this  purpose  never  became  blended  into  an  interesting  and  integral  dramatic 
whole.  Even  in  the  finished  play  it  can  be  seen  that  the  characters,  at  first  real  and 
human,  are  very  soon  made  mere  puppets  in  the  hands  of  the  author  and  director  and 
made  to  perform  their  artificial  and  undramatic  actions.  This  is  especially  noticeable 
in  the  accidental  and  artificial  climax,  which  is  used  merely  for  the  sake  of  the  physical 
thrill  with  no  thought  of  character  motivation  or  of  dramatic  logic. 

The  story  is  of  the  sort  that  depends  entirely  upon  characterization,  for  only  by 
making  the  characters  of  the  play  very  human  and  real  can  such  a  simple  plot  be  given 
any  significance  for  the  average  spectator.  In  Cecil  De  Mille's  "Don't  Change  Your 
Husband"  a  similar  group  of  characters  was  presented,  but  that  director  was  skillful 
enough  to  keep  them  human  and  real  in  all  of  the  action  and  to  develop  a  story  that 
was  vital  and  significant  in  its  application  to  the  life  of  every  spectator.  The  novelist 
can  often  give  a  degree  of  reality  to  characters  that  are  quite  unreal,  merely  by  skillful 
writing  and  dialogue;  but  when  such  characters  are  brought  to  the  screen  they  are 
revealed  starkly  as  unreal  and  lifeless. 

"Obstacles  to  Love"  (XXVIII)  in  a  form  we  have  not  observed  before;  "Errone- 
ous Judgment"  (XXXIII)  and  "Fatal  Imprudence"  (XVII)  form  the  basis  of  the 
plot,  but  on  obstacles  to  the  love  of  a  husband  and  wife  a  very  interesting  and  subtle 
play  might  have  been  developed,  with  many  opportunities  for  amusing  situations.  In 
this  case,  however,  the  author  preferred  to  build  a  t>'pical  thrill  climax,  and  so  lost  the 
opportunity  to  write  an  appealing  and  significant  photoplay. 

The  subject  matter  of  the  story,  dealing  as  it  does  with  a  form  of  the  double 
triangle,  will  always  possess  a  certain  interest,  and  will  always  be  the  basis  of  effective 
drama.  But  the  photoplaywright  should  guard  carefully  against  the  repetition  of  weak 
and  undeveloped  plots  and  should  always  strive  for  stronger  and  more  unusual  situa- 
tions. And  in  dealing  with  such  plot  elements  do  not  forget  that  the  whole  vitality  of 
the  drama  springs  from  the  characterization ;  if  that  is  weak  the  entire  play  will  be 
unsound. 

"THE  JOYOUS  LIAR." 

(Robert  Brunton  production;  starring  J.  Warren  Kerrigan;  scenario  by  Jack 
Cunningham;  directed  by  Ernest  C.  Warde.) 

102 


Synopsis. 

Attempting  to  subdue  a  trio  of  auto  crooks,  Burke  Harlan  is  himself  subdued  and 
upon  recovery  finds  himself  accused  of  being  leader  of  the  gang.  He  is  put  in  jail  and 
about  to  identify  himself  as  a  wealthy  resident  of  Denver  when  he  learns  that  an 
amateur  criminologist  ivishes  to  take  him  into  his  home  and  reform  him.  And  since 
the  reformer  has  a  pretty  daughter,  Harlan  has  no  objections  to  masquerading  for  a 
time  as  the  crook.  Things  go  swimmingly  until  the  reformer  becomes  alarmed  over  his 
daughter's  deep  interest  in  Harlan,  who  is  introduced  to  her  as  a  friend  of  her  father's. 
The  attempt  to  get  rid  of  the  "crook"  is  not  exactly  a  "cinch"  because  Harlan  is  having 
too  good  a  time  to  quit.  He  has  also  a  purpose  and  that  is  to  win  Anne  IVarren,  and 
he  succeeds  even  in  the  face  of  the  obstacles  put  in  his  path  by  a  jealous  detective  who 
attempts  to  arrest  him  as  a  murderer.  Harlan  and  Anne  elude  the  police  long  enough 
to  be  married  and  in  doing  it  make  use  even  of  the  police  patrol  automobile. 

In  contrast  to  some  of  the  corned)'  dramas  we  have  considered  in  which  the  plot 
was  too  mild  and  too  slight  for  screen  purposes,  this  story  by  Jack  Cunningham  serves 
as  a  good  example  of  the  swift  action,  melodramatic,  farcical  romance.  Mr.  Cunning- 
ham is  a  practiced  photoplaywright  and  his  skill  in  telling  a  straightforward  and  excit- 
ing story  in  terms  of  the  screen  is  demonstrated  in  this  play.  It  will  be  observed  that 
the  play  opens  with  swift  and  thrilling  action,  following  the  idea  of  the  storm  before 
the  calm.  The  swift  pace  is  maintained  throughout  the  storj-,  with  enough  calm  for  the 
love  affair  to  develop  pleasingly. 

The  plot  depends  upon  a  series  of  variations  of  two  situations — "Erroneous  Judg- 
ment" (XXXIII)  and  "Obstacles  to  Love"  (XXVIII),  with  which  is  combined  a 
slighter  element  of  "Crime  Pursued  by  Vengeance"  (III),  subdivision  C — "Profes- 
sional Pursuit  of  Criminals."  With  such  a  basis  and  with  the  interesting  melodrama 
of  the  plot  the  story  forms  an  entertaining  photoplay,  and  a  very  good  vehicle  for  the 
star. 

"JUBILO." 

(Goldwyn  production;  starring  Will  Rogers;  written  by  Ben  Ames  Williams; 
directed  by  Clarence  G.  Badger.) 

Synopsis. 

Hobo  Jubilo,  after  witnessing  a  train  holdup,  finds  employment  on  Jim  Hardy's 
ranch.  After  being  thrashed  by  his  employer  for  shirking  work,  he  becomes  a  valuable 
man  and  ivins  the  liking  of  Hardy's  daughter.  Rose.  Suspicion  attaches  to  Hardy  of 
complicity  in  the  holdup  because  of  his  oivnership  of  a  partially  colored  white  horse, 
resembling  a  steed  used  by  one  of  the  robbers.  Bert  Rooker,  who  luas  sentenced  to 
prison  by  Hardy  when  the  latter  was  a  Justice  of  the  Peace,  manages  to  throw  sus- 
picion on  the  ranch-owner.  Because  of  the  love  Hardy  bore  Rooker's  dead  mother  he 
is  trying  to  reform  the  youth.  Rooker  is  severely  beaten  by  Jubilo  when  the  latter 
overhears  him  speak  ill  of  Rose.  Rooker  visits  the  ranch,  has  an  altercation  with 
Hardy,  pulls  a  gun  on  him,  but  is  shot  down  by  the  rancher.  The  sheriff  arrives. 
Jubilo  tries  to  assume  the  blame  for  shooting  Rooker.  But  the  sheriff  announces  that 
one  of  his  prisoners  has  confessed,  implicating  the  zvounded  Rooker,  and  Hardy  is 
cleared.     Jubilo  wins  Rose  and  decides  to  wander  no  more. 

Although  the  sheer  plot  of  this  story  is  of  the  melodramatic  and  rather  conven- 
tional Western  type,  with  a  touch  of  mystery  in  its  unfolding,  the  photoplay  was  on 
the  whole  a  delightful  and  amusing  comedy  drama,  with  just  enough  dramatic  tension 
and  pathos  to  make  it  a  well-rounded  entertainment.  Again  the  treatment  rather  than 
the  theme  or  the  plot  gives  the  story  unusual  life  and  vitality.  The  author  has  dravsn 
a  very  human,  likeable  and  interesting  character  in  the  hobo  Jubilo,  and  the  charm  and 
humanness  of  the  characterization  lifts  the  play  far  above  the  ordinary.  A  less  skillful 
author  and  director  would  have  made  the  story  a  typical  Western  melodrama,  but  in 

103 


this  case  the  character  brings  out  the  heroism  of  the  apparently  unheroic.  Someone 
has  said  that  the  secret  of  success  in  writing  is  to  present  an  average  human  character 
and  then  to  place  him  in  predicam.ents  that  will  compel  the  sympathy  of  the  spectator. 
This  formula,  if  such  it  may  be  called,  is  practiced  with  great  skill  in  "Jubilo." 

Various  phases  of  "Erroneous  Judgment"  (XXXIII)  and  "Self-Sacrifice  for  Kin- 
dred" (XXI)  enter  iiito  the  plot,  the  first  serving  as  the  basis  of  the  mystery,  which  is 
skillfully  maintained  in  a  secondary  way  throughout  the  five  reels. 

As  an  example  of  human  characterization  combined  with  sufficient  melodramatic 
thrills  to  furnish  dramatic  entertainment  "Jubilo"  is  of  value.  More  and  more  the 
producers  are  coming  to  recognize  that  melodramatic  stories  must  be  given  unusual 
characterization  or  comedic  treatment  if  they  are  to  be  plausible  and  realistic.  This 
play  serves  to  illustrate  how  a  relatively  hackneyed  Western  melodrama  can  be  made 
human  and  real  by  good  chracterization. 

"LIFTING  SHADOWS." 

(Leonce  Ferret  production;  starring  Emmy  Wehlen;  story  by  Henri  Ardel; 
directed  by  Leonce  Ferret.) 

Synopsis. 
Vania,  a  Russian  refugee,  has  come  to  America  and  become  the  wife  of  a  writer 
who  is  nothing  but  the  drug-ridden  shell  of  a  man.  Vania  kills  him  one  night  when  he 
approaches  her  in  a  drunken  state.  At  her  trial  she  is  acquitted.  Her  lawyer,  Hugh 
Mason,  falls  in  love  with  her  and  believes  her  innocent.  Vania  dare  not  tell  him  the 
truth  for  fear  of  losing  his  love.  She  is  constantly  pursued  by  a  group  of  Reds  luho  are 
desirous  of  obtaining  some  papers  left  by  her  father.  She  refuses  to  part  tvith  the  papers 
to  the  new  Red  order,  which  she  knoius  has  not  the  ideals  with  which  it  started.  Hugh 
hires  detectives  to  watch  over  her.  One  night  a  Bolshevist  breaks  into  the  house  to 
threaten  Vania.  He  is  shot  by  the  watchman  and  confesses  before  he  dies  that  it  was 
he  who  really  fired  the  shot  which  killed  Vania's  husband.  Vania  is  now  free  to  accept 
Hugh's  love. 

The  melodramatic  nature  of  this  photoplay  was  well  described  by  one  of  the 
reviewers,  who  said:  "It  is  constructed  after  the  manner  of  a  serial  without  giving 
the  same  amount  of  excitement."  For  the  original  photoplay^vright  it  is  especially  of 
value  as  an  example  because  it  involves  the  Bolshevik  villains,  who  have  recently  come 
into  prominence.  In  purely  propaganda  pictures  such  villains  serve  their  purpose,  but 
in  dramas  purporting  to  be  realistic  stories  of  life  they  have  no  place,  for  they  are  as 
unreal  as  the  dyed-in-the-wool  villains  of  the  melodrama  of  fifty  years  ago.  In  the 
recent  past  many  writers  have  attempted  to  deal  with  the  conflict  between  Bolshevism 
and  Americanism  in  some  such  way,  but  there  is  little  drama  in  the  theme.  It  is  far 
better  to  select  conflicts  that  deal  with  individual  human  emotions  than  social,  indus- 
trial or  international  struggles  as  the  basis  of  photoplay  plots,  for  there  is  more  genuine 
drama  in  the  conflicts  of  one's  neighborhood  than  in  the  whole  movement  of  Bolshevism. 

Situations  XXXIII  ("Erroneous  Judgment"),  used  in  the  old  and  hackneyed  way, 
II  ("Deliverance"),  and  XXVIII  ("Obstacles  to  Love")  form  the  foundation  of  the 
play.  In  the  use  of  all  of  these  situations  the  play  is  trite  and  hackneyed,  and  it  is 
further  encumbered  by  the  idea  of  false  accusation  of  murder  against  the  heroine,  her 
love  for  the  man  who  saves  her,  and  the  dying  confession  of  the  real  murderer — all  of 
which  have  been  used  in  the  same  way  countless  times  in  the  past. 

Adequately  produced  such  a  story  will  hold  the  interest  of  sensation  lovers  for  a 
short  time,  but  it  cannot  be  calculated  to  make  a  wide  popular  appeal  or  to  touch  the 
heart  of  the  spectators.     It  is  therefore  an  example  of  subject  matter  to  be  avoided. 

"THE  LION  AND  THE  MOUSE." 
(Produced   by  Vitagraph ;  adapted   from  Charles   Klein's  famous  stage  play   of 
the  same  title;  starring  Alice  Joyce;  directed  by  Tom  Teriss.) 

104 


Synopsis. 

The  story  opens  at  a  meetiny  in  New  York  of  directors  of  a  great  railway  system 
called  to  consider  a  "ruinous"  injunction  issued  by  Judge  Rossmore.  John  Burkett 
Ryder,  reputed  the  richest  man  in  the  world,  and,  correspondingly,  poucrful  and 
unscrupulous,  presides,  and  assures  his  railway  colleagues  that  ii-ithin  a  year  Judge 
Rossmore  luill  he  off  the  bench — impeached.  And  Judge  Rossmore  is  a  man  of  fine 
attainments,  moderate  fortune  and  irreproachable  character. 

At  the  same  time,  in  Paris,  Shirley  Rossmore,  his  beautiful  daughter,  is  making 
a  reputation  writing  stories  and  happy  in  the  love  of  Ryder's  only  son,  Jefferson,  when 
newspapers  tell  of  the  impeachment  of  her  father  and  summoning  her  home.  Jeffer- 
son, ignorant  of  the  genesis  of  the  charges,  pledges  his  father's  aid  in  vindicating  his 
sweetheart's  father.  Ryder  marshaled  his  minions  and  his  millions.  Shirley  had  only 
her  wits  and  her  love — love  of  a  sweetheart  and  of  a  father  being  crushed  to  disgrace 
and  death  by  this  Octopus.  And  Right  triumphed  over  Might,  and  the  Mouse  brought 
the  Lion  to  his  knees. 

This  famous  play  is  based  upon  three  strong  and  interesting  situations.  Situation 
XXIV,  ("Rivalry  between  Superior  and  Inferior"),  is  directly  expressive  of  the  central 
theme,  the  rivalry  between  the  man  of  Might  and  the  girl  of  Right.  Situation  XXIX, 
("An  Enemy  Loved"),  enters  the  story  as  soon  as  the  hero's  identity  is  revealed, 
and  XXVIII,  ("Obstacles  to  Love"),  quickly  follows  it.  In  the  actual  production, 
the  first  sequence  of  scenes  shows  the  heroine  in  Paris,  and  the  beginning  of  a  romance 
is  developed  between  her  and  the  young  man.  The  action  then  starts  in  New  York, 
showing  the  Lion  in  his  den,  planning  the  disgrace  and  downfall  of  the  honorable 
judge.  The  revelation  that  the  lover  of  the  girl  is  the  son  of  her  enemy  is  thus 
established  early  in  the  story,  and  since  it  is  the  premise  of  all  the  subsequent  action, 
there  is  nothing  implausible  in  it. 

The  story  is  simple  in  plot,  but  intensely  dramatic.  The  stage  play  was  a  con- 
tinued success  through  many  seasons,  and  probably  earned  more  royalties  for  its  author 
than  any  other  American  play.  It  is  based  upon  a  profound  and  sympathy-compelling 
theme,  and  is  constructed  so  dramatically  that  it  holds  the  spectator's  interest  through- 
out the  six  reels  of  its  action.  As  an  example  of  a  good  theme,  developed  with  strik- 
ing characters  and  with  a  strong  plot,  this  story  is  of  practical  value.  It  is  impossible 
to  convey  the  subtlety  of  the  actual  conflict  of  wills  in  a  brief  synopsis,  but  the  readers 
who  have  seen  the  picture  will  recall  it  as  a  good  example  of  drama. 

It  will  be  observed  that  in  this  case,  as  in  one  other  we  have  considered,  the 
political  and  financial  background  is  not  allowed  to  become  a  part  of  the  story.  The 
conflict  is  definitely  between  Shirley  and  Ryder,  and  it  is  a  very  human  and  emotional 
conflict.  Ryder's  desire  to  ruin  the  Judge  politically  and  financially  is  merely  the 
premise  of  the  story,  but  the  producer  wisely  eliminated  uninteresting  and  undramatic 
details  of  political  and  financial  intrigue. 

"THE  LITIXE  SHEPHERD  OF  KINGDOM  COME." 

(Goldwyn  production;  starring  Jack  Pickford ;  from  the  novel  by  John  Fox,  Jr.; 
directed  by  Wallace  Worsley.) 

Synopsis. 

Chad,  a  mountain  waif,  comes  to  the  Valley  of  Kingdom  Come,  ivhere  he  works  as 
sheep-herder  for  the  Turner  family  and  is  taught  by  the  village  schoolmaster.  Later, 
in  Lexington,  he  meets  Major  Buford,  who  recognizes  him  as  a  possible  relative,  and 
under  whose  tutelage  he  becomes  a  typical  southern  gentleman.  During  a  sojourn 
in  his  former  mountain  home,  he  tells  Melissa,  who  is  devoted  to  him,  that  he  is  in  love 
with  Margaret  Dean,  daughter  of  a  neighbor  of  the  Buford's.  When  war  breaks  out, 
Chad  is  appointed  lieutenant  in  the  Union  army.  Major  Buford  and  the  Deans  are  for 
the  southern  cause.  Although  fate  thus  pits  him  against  his  benefactor  and  the  girl 
he  loves,  matters  are  straightened  out  when  peace  is  declared.  Chad  wins  Margaret, 
and  Melissa  returns  to  the  mountains. 

105 


In  this  story,  adapted  from  a  long  and  leisurely  novel  that  presents  a  biography 
of  the  hero,  we  find  many  of  the  familiar  plot  elements  of  Southern  stories.  The 
mountain  waif,  in  reality  of  good  family,  who  becomes  a  gentleman  and  falls  in  love, 
and  IS  then  separated  from  his  sweetheart  by  the  misfortunes  of  war,  is  a  character 
that  has  appeared  in  many  novels  and  short  stories.  The  lapses  of  time  necessary  to 
the  depiction  of  the  central  character  as  boy  and  man,  the  lack  of  thematic  unity,  and 
the  indirect  plot  progression  combine  to  render  the  novel  rather  weak  as  a  photo- 
play. It  really  contains  sufficient  material  for  three  five-reel  productions,  which,  when 
used  m  one  picture,  becomes  difEusive  and  undramatic.  There  were  moments  of  gen- 
uine drama  in  the  play,  but,  as  a  whole,  it  lacked  the  unity  and  integrity  required  to 
produce  a  single  dramatic  impression  upon  the  spectator. 

Situation  XXIX,  ("An  Enemy  Loved"),  is  the  dramatic  foundation  of  the  play 
and  with  it  are  combined  Situations  VII,  XX,  XXVII,  and  XXXV.  Traces  of 
novehstic  technique  are  discernible  in  the  finished  photoplay,  and  in  all  probability  it 
would  have  been  impossible  to  have  adapted  this  novel  with  the  same  dramatic  skill 
as  in  the  case  of  "The  Right  of  Way,"  which  we  shall  consider  later. 

There  is  little  demand  for  stories  of  the  Civil  War,  both  because  the  material 
has  been  used  very  often  in  the  past  and  because  it  requires  e.xpensive  production. 

It  should  be  observed  that  there  is  no  definite,  clear-cut  dramatic  triad  in  this 
story,  which  is  one  of  the  chief  reasons  for  its  lack  of  dramatic  unity.  The  story 
starts  with  Chad,  Margaret  and  Melissa— Chad  in  love  v^ith  Margaret,  Melissa  in 
love  with  Chad,  and  Margaret  as  yet  an  unknown  quantity.  A  strong  story  might 
have  been  developed  upon  the  basis  of  such  a  triad,  but  very  soon  the  action  in  this 
case  swerves  to  another  triad  and  then  to  a  third.  As  a  result,  there  is  no  well-defined 
dramatic  objective  and  no  strongly  organized  dramatic  structure. 

The  play  is,  therefore,  a  good  example  of  several  errors  to  avoid  in  writing  for 
the  screen. 

"LIVE  SPARKS." 

(Brunton  production;  starring  J.  Warren  Kerrigan;  story  by  Carolyn  Sayre; 
scenario  by  Jack  Cunningham;  directed  by  Ernest  Warde.) 

Synopsis. 

Live  Sparks,  a  romantic  young  millionaire,  so  named  because  of  his  wild  but 
harmless  adventures,  receives  a  ivire  from  his  Texas  representative  ivhich  causes  him 
to  suspect  that  his  oil  associates  are  defrauding  him.  He  goes  to  Texas,  and  then 
finds  that  Abbott  and  Craig  have,  with  the  assistance  of  a  Mexican  tool,  caused  his 
land  to  appear  worthless  by  piping  the  oil  from  it  to  their  own  gushers.  He  is  assisted 
in  unearthing  the  trickery  by  a  beautiful  girl,  luho  remains  nameless  and  wha  causes 
"Live"  to  forget  his  mercenary  fiancee  in  the  city.  By  playing  upon  the  weakness 
of  the  Mexican's  sweetheart,  "Live"  secures  evidence  of  the  fraud  and  prepares  for 
the  arrest  of  the  crooks.  In  a  fight  that  ensues,  the  father  of  the  unknown  girl  is 
killed  and  his  children  placed  in  "Live's"  care.  Being  helpless,  the  girl — really  the 
daughter  of  the  man  who  dies — goes  to  the  city  with  her  five  brothers  and  sisters  to 
ask  aid  from  Mr.  Sparks,  thinking  him  to  be  a  venerable  old  man.  The  romance 
is  brought  to  a  happy  ending  by  the  city  girl  breaking  the  engagement. 

This  story  is  another  effective  example  of  the  romantic  comedy  drama  with  an 
undercurrent  of  melodramatic  action.  This  combination  of  rapid  and  thrilling  action 
with  humorous  and  romantic  characterization  is  usually  very  effective  on  the  screen, 
for  it  provides  parts  of  the  two  most  pleasing  kinds  of  entertainment — humor  and 
melodrama.  The  chief  objection  to  the  old-fashioned  melodrama  of  the  Drury  Lane 
school  is  its  exaggerated  and  unreal  characterization ;  often  the  plots  of  such  melo- 
dramas are  very  interesting.  But  modern  writers  have  learned  to  combine  melodrama 
with  humor,  and  have  carefully  avoided  the  tendency  towards  farce  and  burlesque. 
The  result  is  pleasing,  human  entertainment  of  the  type  provided  by  "Live  Sparks." 

106 


In  this  case  the  whole  story  springs  from  the  central  character.  It  is  a  very 
clear  example  of  a  character  suggesting  a  plot  to  the  author.  Mrs.  Sayre  probably 
knows  just  such  a  boy  as  "Live"  Sparks,  clean,  wholesome,  reckless  and  adventurous. 
First  of  all  then  she  drew  her  character,  one  that  almost  any  young  star  would  desire 
to  portray  and  almost  any  audience  find  interesting.  Then  she  placed  him  in  a  definite 
form  of  Situation  IX,  ("Daring  Enterprise"),  when  he  goes  to  investigate  the  frauds 
of  his  Texas  representatives.  With  this  situation  she  has  combined  "Enigma"  and 
"Obtaining",  (XI  and  XII),  giving  considerable  suspense  to  the  plot.  The  heroine 
wins  our  sympathy  by  "falling  prey  to  cruelty  and  misfortune"  (VII)  at  the  death  of 
her  father,  when  she  is  left  with  the  other  children  to  support.  Then  the  hero  wins 
us  by  his  kind  offer  to  care  for  the  dead  man's  family.  Situation  II,  ("Deliverance"). 
Situation  I,  ("Supplication"),  enters  the  story  in  the  girl's  effort  to  ask  aid  of  Mr. 
Sparks,  combined  with  a  humorous  element  of  "Erroneous  Judgment",  (XXXIII), 
in  her  belief  that  Mr.  Sparks  is  an  old  man. 

As  in  most  romantic  comedy  dramas,  the  characterization  and  the  clever  treat- 
ment of  incidents  adds  a  great  deal  of  charm  and  color  to  the  story.  The  basic  situa- 
tions form  a  plot  outline  of  dramatic  strength,  but  in  addition,  the  author  has  skill- 
fully supplied  the  story  with  lifelike  and  interesting  incidents — all  essential  parts  of 
the  story — and  has  so  given  it  the  warmth  and  color  of  real  life. 

The  story  is  novel  in  its  characterization  and  incidents  rather  than  in  the  funda- 
mental situations,  but  it  serves  as  a  very  good  example  of  this  type  of  play,  which  is 
likely  to  meet  with  continued  favor  because  of  its  human  and  dramatic  appeal. 

"THE  LOST  CITY." 

(Warner  Brothers  Serial  in  Fifteen  Episodes;  story  by  Frederic  Chapin;  directed 
by  E.  A.  Martin.) 

Synopsis. 

Stanley  Morton,  young  mlllionairf ,  and  his  friend,  Mike  Donovan,  ex-pugilist, 
go  on  an  aeroplane  trip  to  Africa  in  search  of  big  game.  They  reach  a  village  ruled 
by  slave-trader  Gagga.  The  latter's  warriors  return  from  a  raid  with  prisoners,  among 
whom  is  Princess  Elyata,  whose  father  is  king  of  the  city  of  Tirzah,  inhabited  by 
whites,  in  the  interior.  She  repulses  Gagga's  advances.  Morton  and  Donovan  are 
throivn  into  the  lion  pit  by  Gagga.  Momba,  an  elephant  who  dances  to  the  music 
of  Donovan's  mouth  organ,  rescues  them.  They  in  turn  rescue  Elyata  from  the  pit 
by  means  of  a  rope  throivn  from  their  aeroplane.  They  head  for  the  jungle,  are  obliged 
to  land  for  lack  of  gasoline.  Gagga  pursues  them,  they  are  recaptured  and  escape 
again.  The  pursuit  continues  hotly,  while  wild  beasts  and  all  the  dangers  of  the 
jungle  threaten  them  on  every  hand. 

The  story  of  this  serial  production  is  a  good  example  of  the  "animal  stunt"  photo- 
play. Like  most  serials,  it  is  extremely  melodramatic,  but  in  this  case  the  plot  is 
given  a  thrilling  romantic  interest  by  the  selection  of  situations  and  plot  material. 
The  mysterious  city  of  the  whites  in  the  heart  of  the  jungle,  the  conflict  between 
blacks  and  whites,  the  princess  in  distress  and  the  daring  young  American  adven- 
turers— these  fundamental  plot  elements  are  of  the  type  that  appeal  to  all  lovers  of 
romance,  providing  they  are  given  some  semblance  of  reality  in  the  production. 

The  story  is  a  very  simple  one,  and  frankly  romantic,  but  it  involves  a  rather 
unusual  use  of  Situation  IX,  ("Daring  Enterprise"),  and  subsequently  Situations  II, 
("Deliverance"),  V,  ("Pursuit"),  and  forms  of  VT,  ("Disaster"),  enter  into  the  play 
to  give  it  melodramatic  thrills. 

Because  of  the  use  of  Situation  IX,  the  story  is  more  novel  than  most  serial 
photoplays,  and  it  serves  admirably  as  a  basis  for  the  many  thrilling  and  unusual 
stunts  that  were  accomplished  in  the  production.  The  success  of  such  a  serial  depends, 
however,  more  upon  the  skillful  direction  and  the  novelty  of  the  incidents  than  upon 
the  basis  of  the  plot  itself. 

107 


"THE  LOVE  AUCTION." 

(Produced  by  Fox;  starring  Virginia  Pearson;  story  by  May  Edginton;  scenario 
by  Raymond  Shrock;  directed  by  Edmund  Lawrence.) 

Synopsis. 

Lea  Montrose,  guided  more  by  impulse  than  good  judgment,  marries  Dorian 
Vandeveer,  a  very  rich  member  of  society,  hut  after  her  marriage  discovers  she  has 
become  the  wife  of  a  drunkard.  In  response  to  her  tearful  protests,  Vandeveer  prom- 
ises to  reform,  and  does  make  an  effort  to  curb  his  appetite  for  drink.  But  again 
and  again  he  falls  from  grace,  until  Lea  has  lost  all  hope  for  happiness. 

Heart-broken  and  discouraged,  she  is  easily  persuaded  by  a  woman  friend  to  take 
part  in  the  rites  of  a  new  cult  which  society  has  taken  up.  The  head  of  this  cult  is 
Dr.  Studholm  Charters. 

In  the  midst  of  Lea's  unhappiness,  a  former  suitor.  Jack  Harley,  whom  Lea  had 
rejected  because  of  his  poverty,  returns  to  New  York,  having  made  a  great  success 
in  the  fVest.    Lea  finds  his  companionship  the  one  bright  spot  in  her  life. 

Later  Lea  becomes  a  mother,  and  the  birth  of  the  child  inspires  Vanderveer  to 
take  the  drink  cure. 

Dr.  Charters,  suspecting  the  child  is  Hartley's,  demands  that  Lea  give  herself 
to  him  as  the  price  of  his  silence. 

Vandeveer  soon  learns  of  Charters'  demand  on  Lea.  He  resumes  drinking,  seeki 
out  Charters  and  kills  him.  Then,  after  exonerating  Lea  of  all  wrong-doing,  Van- 
deveer completes  the  chapter  by  ending  his  own  life. 

This  sensational  melodrama  of  domestic  strife  is  a  combination  of  Situation  VII, 
("Falling  Prey  to  Cruelty  or  Misfortune"),  and  Situation  XXV,  ("Adultery")  ;  Sit- 
uation XXVII,  ("Obstacles  to  Love"),  and  Situation  XXXIV,  ("Remorse").  It 
is  well  to  observe  that  Situation  VII  in  this  case  fails  to  compel  our  sympathy  because 
of  the  weak  and  impulsive  character  of  the  heroine.  Having  married  a  man  she  did 
not  love,  the  fruits  of  such  a  marriage  do  not  arouse  our  sympathetic  interest.  The 
general  tone  of  the  story  is  needlessly  depressing,  and  it  does  not  illustrate  any  worth- 
while theme.  The  action  is  therefore  meaningless  and  appeals  only  to  that  small  sec- 
tion of  the  average  audience  that  delights  in  sensation  for  its  own  sake.  The  tendency 
of  the  producers  is  to  avoid  such  subjct  matter,  and  it  is  well  for  the  photoplaywright 
to  do  likewise. 

The  suicide  of  the  drunken  husband  and  the  murder  of  the  blackmailing  doctor 
are  both  incidents  that  should  be  avoided  in  writing  for  the  screen.  Tragedy  is  only 
justifiable  when  it  is  the  inevitable  and  significant  fulfillment  of  a  theme  that  really 
inspires  an  audience.  The  tragedy  of  the  Greek  drama  and  of  Shakespeare,  for 
example,  possesses  a  definite  katharsis — a  purgative,  cleansing  power  in  its  effect  upon 
an  audience. 

Stories  involving  drunkenness  are  no  longer  in  demand,  and  the  subject  should 
be  avoided.  The  producers  have  issued  almost  unanimous  statements  to  the  effect  that 
they  will  not  consider  stories  of  this  type. 

"LUCK  IN  PAWN." 

(Paramount-Artcraft  production;  starring  Marguerite  Clark;  from  the  stage  play 
by  Marvin  Taylor;  scenario  by  Alice  Eyton ;  directed  by  Walter  Edwards.) 

Synopsis. 

Annabel  Lee  longs  to  be  a  painter  and  as  she  shoivs  some  degree  of  talent,  her 
mother  skimps  more  and  ivorks  more  in  order  to  send  the  girl  away  from  the  farm  to 
the  city  to  study.  The  venture  is  discouraging  and  Annabel  reaches  the  point  ivhere 
she  is  undecided  ivhether  to  go  on,  so  she  goes  to  consult  a  famous  artist  for  advice. 
At  his  hotel,  which  is  a  very  fashionable  place,  Annabel  meets  a  satiated  though  very 

log 


respectable  young  multi-millionaire.  This  chap  falls  in  love  uith  Annabel  on  sight 
and  insists  upon  her  remaining  at  the  hotel  a  while.  Richard's  mother  is  so  over- 
joyed at  seeing  her  son  so  cheerful  that  she  joins  him  and  persuades  Miss  Lee  to  stay 
over.  But  as  Annabel  has  no  money,  she  does  not  know  how  to  arrange  it,  so  fate 
takes  a  hand  and  she  hears  a  plot  regarding  a  diamond  tiara  and  gets  in  touch  with 
the  paivn  broker,  who  is  himself  anxious  to  get  into  society  and  he  finances  the  venture, 
which  culminates  when  Richard,  in  high  determination,  sweeps  away  all  obstacles  and 
has  his  mother  agree  to  his  marriage  to  Annabel  and  then  gets  the  charming  young 
lady's  promise  to  be  his  wife. 

Like  many  stage  plays  of  the  light  romantic  sort  this  adaptation  suffers  from  a 
very  slight  and  undramatic  plot,  which,  in  the  actual  production,  was  only  made  effec- 
tive and  interesting  by  very  skillful  direction  and  acting.  The  story  could  serve  well 
in  a  stage  play,  embellished  with  amusing  dialogue  and  effective  theatrical  scenes. 
But  it  is  entirely  too  slight  for  a  five-reel  photoplay. 

The  two  basic  situations  are  "Ambition  (XXX)  and  "Obstacles  to  Love" 
(XXVIII),  which  are  relatively  undeveloped  in  this  case.  If  the  author  had  been 
skillful  enough  to  develop  the  plot  without  the  assistance  of  Fate  and  without  the 
melodramatic  touch  he  has  used  to  "thicken"  the  plot,  the  story  would  have  been 
a  much  more  suspensive  photoplay  and  one  better  suited  to  the  excellent  direction 
and  acting  it  received. 

It  should  be  noted,  however,  that  there  is  an  effective  use  of  comedic  recoil  in 
the  situation  of  "Obstacles  to  Love."  First  the  mother  of  the  tired  young  millionaire 
desires  the  heroine  to  interest  him,  hoping  thereby  to  interest  him  in  other  girls,  and 
then  she  opposes  their  marriage.  Such  a  contrast  in  character  leads  to  a  mild  and 
amusing  degree  of  suspense,  without  which  the  plot  would  have  been  still  weaker. 

If  a  vv'riter  has  an  inceptive  situation  of  this  kind  he  should  exercise  all  possible 
ingenuity  to  develop  it  to  its  full  comedic  and  dramatic  power.  The  use  of  the  Rule 
of  Three,  emphasized  elsewhere  in  these  pages,  will  be  most  helpful  in  such  a  case. 

The  plot  weakness  of  adaptations  of  this  kind  has  led  the  producers  to  see  the 
value  of  original  stories,  written  for  the  screen  by  writers  with  a  thorough  under- 
standing of  the  screen's  needs.  The  photoplaywright  should  not,  therefore,  expect 
to  duplicate  similar  weak  plots  and  expect  them  to  be  salable  as  original  photoplays. 
Instead,  every  effort  should  be  made  to  develop  the  plots  to  their  full  dramatic  and 
comedic  power. 

"MANDARIN'S  GOLD." 

( Produced  by  World  ;  starring  Kitty  Gordon ;  story  by  Philip  Lonergan  ;  scenario 
by  Lucien  Hubbard;  directed  by  Oscar  Apfel.) 

Synopsis. 

Betty  Cardon  is  a  bridge  fiend,  and,  moreover,  she  is  not  a  good  hand  at  the 
game.  Her  losses  mount  and  mount  until,  finally,  her  husband,  Blair,  finds  himself 
unable  to  keep  pace  with  them.  He  asks  her  to  stop,  but  the  fever  is  in  Betty,  and 
she  can  not.  She  goes  in  debt  to  Geoffrey  North,  a  man  of  Health,  tvho  admires  her 
as  the  beautiful  woman  she  is.  But  even  he  demands  his  dues,  and  when  Betty  learns 
what  he  expects,  she  suffers  a  revulsion  of  feeling.  How  is  she  to  get  out  of  her 
predicament?     How  is  she  to  pay  these  notes  and  again  be  free? 

In  the  Cardon  household  there  is  Cherry  Blossom,  a  little  Chinese  girl  to  whom 
Betty  had  given  refuge  when  she  learned  that  her  father  had  made  arrangements  to 
sell  her  to  Li  Hsun,  the  Mandarin.  The  Mandarin  had  often  approached  Betty, 
weighing  bags  of  gold  in  his  hand,  offering  her  small  fortunes  if  she  will  but  give 
up  Cherry  Blossom,  but  Betty  had  akvays  remained  firm  and  true  to  her  promise  to 
protect  the  girl. 

109 


Now,  as  she  sits  in  her  chair  brooding  over  her  losses,  ivith  Li  Hsun's  last  note 
in  her  hand,  she  wavers  and  decides  to  give  up  the  girl  to  a  horrible  fate.  The  plans 
are  made,  all  she  must  do  is  to  give  the  girl  to  the  Mandarin's  messenger.  And  this 
she  does.  She  receives  in  turn  the  gold  with  which  she  pays  her  debt,  and  then  the 
full  horror  of  her  act  dauns  on  her.  She  rushes  to  the  Mandarin  to  save  Cherry 
Blossom  and  arrives  while  he  is  torturing  her  to  give  up  the  man  she  loves  for  him. 
She  refuses,  so  she  is  killed,  and  with  her  her  lover.  Blair  Gordon  has  gotten  oti 
the  trail  of  his  wife  and  breaks  into  the  Mandarin  s  den  with  the  police.  The  police 
shoot  the  Mandarin  as  he  attempts  to  escape  and  with  his  dying  breath  he  tells  of 
Betty's  deed.     Blair  denounces  her. 

Then  Betty  aivakes  in  her  chair  with  the  final  offer  from  the  Mandarin  still 
in  her  hand.  With  a  glad  cry  she  realizes  it  has  all  been  a  dream,  and  zvhen  her* 
husband  returns  from  business  she  confesses  all  to  him  and  promises  to  stop  her 
gambling. 

Another  story  of  the  sensational  type,  in  this  case  relieved  by  the  hackneyed 
method  of  revealing  the  entire  action  as  part  of  a  dream.  The  heroine  first  suffers 
"Disaster",  (Situation  VI),  which  also  involves  Situation  XXII,  ("All  Sacrificed 
for  a  Passion"),  which  in  turn  is  followed  by  the  "Necessity  of  Sacrificing  a  Loved 
One",  (Situation  XXXIII),  and  by  "Remorse",  (Situation  XXXIV.). 

The  story  is  noteworthy  because  it  gives  a  rather  unusual  version  of  the  familiar 
tale  of  a  heroine  who  borrows  money  from  a  villain  and  is  then  called  upon  to  pay 
the  price.  By  combining  \vith  this  hackneyed  material  the  colorful  and  picturesque 
Chinese  counter-plot,  the  author  has  succeeded  in  supplying  the  star  with  a  brilliant 
role.  Because  of  the  dream  element,  however,  the  action  is  quite  implausible,  and  the 
average  spectator  would  know  almost  from  the  beginning  how  the  story  would  turn  out. 

Many  writers,  in  developing  the  premise  of  this  story,  would  have  carried  out 
the  lady-in-debt  theme  in  a  conventional  and  hackneyed  way,  ultimately  freeing  the 
heroine  from  the  villain  by  chance.  Mr.  Lonergan  deserves  a  great  deal  of  credit  for 
the  clever  introduction  of  the  Chinese  counter-plot,  but  he  might  have  used  that  ele- 
ment as  the  basis  of  a  more  logical  and  compelling  story. 

"A  MAN'S  FIGHT." 

(Produced  by  United;  starring  Dustin  Farnum;  story  and  scenario  by  Tom 
Geraghty;  directed  by  Thomas  N.  Heflron.) 

Synopsis. 

The  story  opens  in  Neiv  York  City,  where  the  star  portrays  the  role  of  an  idle 
young  man  of  ivealth,  ivho  finally  rises  to  the  occasion  when  the  big  moment  comes. 
A  man  whom  he  had  previously  quarreled  with  is  shot  during  a  scuffle  with  the  hero's 
sister.  Both  brother  and  sister  confess  to  firing  the  shot  that  killed,  in  order  to  pro- 
tect the  other. 

The  outcome  is  that  the  brother  is  sent  to  prison  for  a  short  term,  and  when 
released,  he  is  disoivned  by  his  father  and  goes  West  to  start  anew.  The  sister  goes 
into  a  convent.  The  young  man's  fight  for  the  independent  copper  interests  in  Ari- 
zona brings  him  into  politics,  and  when  about  to  grasp  victory,  he  is  confronted  by 
his  past  as  a  convict. 

A  very  pretty  young  girl  is  his  stenographer.  And  she  is  just  as  smart  as  she 
is  pretty.  It  is  this  young  girl  who  finally  appears  in  the  big  town  hall  and  takes 
such  a  leading  part  in  the  big  scene  which  carries  the  hero  success  and  clears  the  name 
of  both  himself  and  his  sister. 

And  this  brings  order  out  of  chaos  and  leaves  the  hero  and  heroine  to  enjoy  their 
well  earned  happiness. 

This  story  is  a  rather  conventional  and  commonplace  Western  melodrama,  based 
upon  familiar  and  somewhat  ineffective  plot  material.     The  opening  episode,  dealing 

110 


with  the  mutual  sacrifice  of  brother  and  sister,  involves  Situation  XXI  and  Situation 
XXXIII,  ("Erroneous  Judgment").  Situation  XXIV,  ("Rivalry  Between  Superior 
and  Inferior"),  is  used  in  the  conflict  between  the  hero  and  the  copper  interests,  but 
it  is  not  nearly  so  dramatic  as  most  uses  of  this  situation.  In  this  case  there  is  no 
tense,  human  conflict  of  wills.  The  conflict  involves  uninteresting  political  questions 
of  little  dramatic  value,  and  mob  scenes  which  are  also  less  dramatic  than  more 
restricted  action. 

The  opening  episodes  of  the  story  are  not  directly  related  to  those  that  follow, 
and  the  construction  of  the  story  is  therefore  rather  artificial.  The  imprisonment 
of  the  hero,  for  example,  depends  upon  the  very  timeworn  use  of  circumstantial  evi- 
dence, and  it  is  mechanically  injected  into  the  plot  for  the  sole  purpose  of  recurring 
at  a  later  point.  There  is  a  lack  of  fine  logic  and  an  almost  total  absence  of  theme  in 
the  story.  As  a  heroic  role  for  the  star,  it  is  of  value.  But  its  emotional  and  dramatic 
appeal  is  so  slight  that  the  story  serves  as  a  good  example  of  what  not  to  do. 

Political  and  financial  rivalry  is  invariably  dull  on  the  screen.  The  imprison- 
ment of  the  hero  is  a  conventional  means  of  awakening  sympathy,  now  almost 
exhausted.  The  part  the  sister  plays  in  the  story  might  easily  have  been  eliminated, 
for  it  is  of  no  dramatic  interest  and  the  convent  scenes  are  not  appealing.  On  the 
whole,  the  opening  episodes  of  the  story  are  so  conventional  that  they  might  have 
been  eliminated  without  loss  and  the  story  could  have  opened  in  the  West.  Then, 
if  the  political  and  financial  element  had  been  removed,  and  the  hero  placed  in  a 
predicament  where  he  would  have  a  real  man's  fight  on  his  hands,  rather  than  a  political 
contest,  it  would  have  been  more  appealing  and  effective. 

"MARKED  MEN." 

(Universal  production;  story  by  Peter  B.  Kyne;  scenario  by  H.  Tipton  Steck; 
directed  by  Jack  Ford;  starring  Harry  Carey.) 

Synopsis. 

Harry,  Bill  and  Tom  are  held  in  a  state  penitentiary  for  a  train  robbery.  Tony, 
their  pal,  aids  them  in  escaping.  Later  Harry  is  found  in  Trade  Rat,  where  he  has 
met  and  become  interested  in  Ruby  Merril.  When  his  pals  arrive,  they  plan  a  last 
biff  robbery  on  the  bank,  but  a  posse  is  hot  on  their  trail,  and  after  Bill  has  been 
killed,  the  other  three  find  themselves  in  the  desert  uithout  water.  They  come  upon 
a  wagon  and  a  zvoman  who  has  just  given  birth  to  a  son.  She  dies  and  begs  the  three 
men  to  be  the  baby's  godparents.  The  baby  brings  out  all  the  tenderness  in  these  men, 
and  they  care  for  it  lovingly  and  make  back  for  the  nearest  town  ivilh  it.  Tony 
and  Tom  die  en  route  and  Harry  plunges  on  with  the  baby,  even  willing  to  be  caught 
and  sent  back  to  jail  that  the  baby  may  live.  In  a  small  town  he  staggers  into  the 
dance  hall  and  finds  himself  face  to  face  with  Ruby  and  the  sheriff,  ivho  has  followed 
her.  The  sheriff  informs  Harry  he  must  arrest  him,  but  when  he  learns  that  it  was 
his' own  sister  who  died  and  left  the  baby,  he  obtains  a  pardon  from  the  Governor. 
Harry  and  Ruby  and  the  baby  take  up  a  peaceful  life  together. 

The  theme  of  the  regeneration  of  a  man  has  long  been  a  popular  one,  but  seldom 
has  it  been  used  with  so  great  a  degree  of  realism  and  dramatic  power  as  in  this  photo- 
play. The  situation  (technically  a  combination  of  I  and  II,  Supplication  and  Deliver- 
ance), which  starts  the  play  is  a  very  gripping  and  dramatic  one.  In  this  story, 
again,  the  situation  itself  and  the  plot  develop  from  the  characterization.  Given  the 
three  "marked  men",  rough,  uncouth  and  hardened  by  suffering  and  crime,  bring  them 
before  the  miracle  of  miracles— a  new-born  and  motherless  babe— and  genuine  drama 
is  bound  to  result.  The  basic  situation  is  in  itself  an  inspiration,  offering  splendid 
opportunities  for  both  drama  and  comedy  of  a  human  and  appealing  kind.  It  would 
be  difficult  to  find  a  better  example  of  a  really  tense  and  poignant  dramatic  situation 
than  this  one. 

Ill 


"Self-Sacrifice",  (XX  and  XXI),  plays  an  important  and  dramatic  part  in  the 
story,  which  later  involves  another  form  of  "Deliverance"  in  the  pardon  of  the  hero. 

Basically,  this  story  is  a  Western  melodrama,  but  the  distinguished  author  has 
given  it  such  a  human  and  dramatic  foundation  that  the  melodrama  of  the  superficial 
plot  is  lost  in  the  poignance  of  the  real  conflict.  The  producers,  as  has  been  said 
before,  have  come  to  realize  that  some  such  human  characterization  or  exceptional 
comedy  relief  is  necessary  to  the  success  of  a  melodramatic  plot. 

Perhaps  no  better  example  of  a  Western  story  could  be  found  than  this,  but  sit- 
uations like  the  inception  of  this  play  are  indeed  very  rare  and  usually  spring  from 
real  experience  and  a  deep  understanding  of  life  and  its  forces. 

"MARRY  ME." 

(One  Reel  Christie  Comedy.) 

Synopsis. 

"Marry  Me"  is  a  satire  on  the  leap  year  proposal  and  offers  Bobby  Vernon  in 
the  role  of  the  chap  who  scoffs  at  the  idea  of  girls  proposing.  Just  to  prove  that  he 
is  wrong,  his  chums  conceive  the  scheme  of  having  Vera  Stedman  pop  the  question. 
Of  course,  she  is  not  in  earnest  at  first,  but  when  she  sees  another  woman  taking 
advantage  of  leap  year  by  proposing  to  Bobby,  she  quickly  decides  that  he  is  ivorth 
having  after  all. 

The  subject  of  leap  year  proposals  is  one  that  many  writers  undertake,  especially 
under  the  romantic  influence  of  such  a  year.  As  a  result,  the  studios  have  received 
many  stories  of  this  kind  and  the  subject,  unless  very  cleverly  developed,  is  one  to 
be  avoided.  As  long  as  there  are  leap  years,  probably,  it  will  be  used,  and  with  some 
degree  of  humor. 

The  construction  of  this  simple  plot  is  admirable,  for  it  presents  a  clear  and 
concise  situation  developed  directly  and  dramatically  to  its  climax.  Only  two  situa- 
tions are  employed — XXXII  and  XXXIII,  ("Mistaken  Jealousy"  and  "Erroneous 
Judgment"),  both  of  which  are  used  in  a  human  and  amusing  way. 

As  a  technical  example,  quite  aside  from  the  subject  matter,  this  story  is  a  good 
example  of  the  proper  construction  of  short  comedies. 

"MARY'S  ANKLE." 

(Thomas  H.  Ince  production  ;  starring  Douglas  McLean  and  Doris  May ;  adapted 
from  the  play  by  May  Tully  by  Luther  Reed ;  directed  by  Lloyd  Ingraham.) 

Synopsis. 

Doc  Hampton  is  out  of  funds.  Uncle  George  has  promised  him  a  large  sum  if 
he  will  marry.  His  chums  persuade  him  to  send  out  fake  wedding  announcements. 
Mary  Jane  Smith,  whom  he  loves,  lives  with  her  aunt,  an  old  sweetheart  of  Uncle 
George.  The  latter  invites  her  and  Alary  on  a  voyage  to  Honolulu.  He  also  requests 
that  the  latter  look  up  Doc.  She  sees  the  Doc  in  his  office,  and  after  leaving,  sprains 
her  ankle,  ivhich  he  fixes.  He  persuades  her  to  pose  as  his  necessary  wife.  Uncle 
engages  the  bridal  suite  on  the  steamer  for  them.  At  the  dock  the  Doc's  chums  lose 
their  nerve  and  tell  the  truth.  Alary  and  Doc  save  the  day  by  announcing  that  they 
intend  having  the  captain  marry  them  at  sea. 

This  story  is  more  nearly  a  farce  comedy  of  incident  than  of  situation,  for  its 
plot  is  too  slight  in  situational  strength  for  a  five-reel  photoplay.  With  the  elimina- 
tion of  some  incidents  and  subtitles,  the  same  story  could  have  been  presented  in  two 
reels.  Because  of  the  slight  plot,  it  was  necessary  to  pad  the  production  with  many 
incidents  and  many  titles  from  the  play.  The  result  was  a  farcical  sequence  of  inci- 
dents, funny  in  themselves,  but  the  play  as  a  whole  lacked  the  integral  strength  screen 
plays  should  have. 

112 


In  small  degrees,  Situations  IX,  I,  II  and  XXXIII  enter  into  the  story,  but 
none  of  them  is  developed  to  its  full  power.  There  have  been  many  short  comedies 
written  and  produced  upon  the  same  plot  premises,  and  in  the  one  or  tu'o-rcel  length 
the  material  is  amusing  and  effective.  Produced  in  five  reels,  there  is  a  great  danger 
of  slow  action  (which  is  deadly  to  farce),  the  necessity  for  too  many  titles,  and  ineffec- 
tive crises.  If  this  story  had  been  originally  written  as  a  photoplay  many  more  com- 
plications and  situations  would  have  been  developed,  and  the  play  would  have  possessed 
a  more  dramatic  structure. 

It  is  only  fair  to  say,  however,  that  a  skillful  scenario,  clever  acting  and  direction, 
made  the  most  of  the  material.  But  the  same  skill  in  production  applied  to  real  photo- 
play material  would  have  led  to  still  better  results. 

Farce  is  generally  so  dependent  upon  titles,  so  implausible  in  its  basic  situations, 
and  so  difficult  for  an  actor  to  convey  in  a  silent  medium,  that  it  is  unwise  to  write 
it  for  the  screen.  To  a  greater  degree  than  any  other  dramatic  medium,  the  screen 
requires  stories  that  will  convince  the  audience  of  their  reality.  It  is  possible  to  con- 
vince an  audience  for  one  or  two  reels,  but  it  is  most  difficult  to  maintain  credulity 
for  the  hour  required  to  show  a  five-reel  picture. 

"THE  MIRACLE  MAN." 

(Paramount-Artcraft  Special;  featuring  Thomas  Meighan  and  Betty  Compson ; 
story  by  Frank  L.  Packard;  stage  play  by  George  M.  Cohan;  continuity  and  direction 
by  George  Loane  Tucker.) 

Synopsis. 

Three  men  and  a  beautiful  woman  compose  a  group  of  crooks,  who  are  operating 
in  New  York's  Chinatoivn.  The  chief  of  the  gang  reads  a  short  news  item  in  the 
daily  paper,  which  states  that  several  apparently  miraculous  cures  are  being  performed 
by  an  old  hermit  in  a  small  village  up-state. 

When  they  learn  that  the  old  patriarch  is  blind  and  deaf  they  conceive  the  idea 
of  capitalizing  the  credulity  of  those  who  seek  by  faith  to  be  cured  by  this  miracle 
man.  They  establish  themselves  in  his  household  and  by  imposition  and  good  fortune, 
augmented  by  skillful  publicity  methods,  they  manage  to  rapidly  acquire  a  fortune. 
But  in  the  meantime,  the  leaven  of  the  old  miracle  man  is  having  effect  on  the  hearts 
and  souls  of  the  crooks. 

A  strong  love  element  develops  between  the  leader  of  the  crooks  and  the  beautiful 
woman  member.  One  of  the  gang,  knoivn  as  "The  Dope",  discards  his  drugs  and 
wins  a  little  country  maid,  and  the  other  member  of  the  gang  acquires  a  grey-haired 
country  mother. 

It  is  to  be  hoped  that  every  student  of  the  photoplay  has  seen  "The  Miracle 
Man",  for  it  is  a  splendid  example  of  a  vital  and  interesting  theme  dramatically 
developed,  with  characters  in  remarkably  effective  contrast.  The  story  is  essentially 
simple,  as  great  stories  are  apt  to  be,  and  the  continuity  of  the  production  is  a  thing 
of  rare  excellence.  As  an  example  of  dramatic  technique,  it  is  doubtful  if  any  other 
motion  picture  has  been  so  well  constructed  and  so  subtly  developed.  In  discussing 
Situation  X,  ("Abduction"),  we  have  already  considered  this  photoplay  as  a  mani- 
festation of  the  rescue  of  a  soul  in  captivity  to  error.  In  fact,  it  presents  four  dis- 
tinctive characters  of  major  importance  and  several  minor  ones  who  are  rescued  by 
the  sublime  faith  of  the  Miracle  Man.  It  is  well  to  observe  that  the  story  deals 
entirely  with  the  struggle  between  the  forces  of  good  and  evil  for  the  possession  of 
the  souls  of  men.  Every  detail  of  the  action  has  its  direct  bearing  upon  the  central 
theme,  and  the  plot  progresses  inevitably  from  the  moment  the  leading  crook  reads  the 
•clipping  in  the  newspaper  that  throws  him  and  his  comrades  into  contact  \vith  the 
Miracle  Man.  There  are  no  false  notes,  no  unnecessary  or  nonessential  side  issues. 
The'action  is  straightforward,  direct  and  objective,  and  truly  dramatic  in  its  emotional 
effect. 

113 


Although  the  rescue  of  souls  in  captivity  to  error  is  the  basic  situation  of  the 
plot,  Situations  XXXII  and  XXXIII,  ("Mistaken  Jealousy")  and  ("Erroneous 
Judgment"),  also  enter  into  it,  and  there  is  a  very  dramatic  use  of  the  idea  of  Pardon. 
In  fact.  Pardon  plays  so  large  a  part  in  the  thematic  conclusion  of  this  story  that  it 
would  be  justifiable  to  place  it  as  a  separate  Situation. 

The  genesis  of  this  story  probably  lies  in  the  contrasting  characters,  for  almost 
every  detail  of  action  is  an  inevitable  expression  of  the  contrast  of  character.  Let  us 
place  ourselves  in  the  position  of  the  author.  Suppose  we  had  really  known  a  man 
like  the  patriarch  of  this  story,  a  kindly,  far-seeing,  gentle,  mystical  old  man  who  had 
done  so  much  good  that  he  was  considered  a  miraculous  healer.  Suppose  we  wish 
to  illustrate  the  struggle  between  the  forces  of  good  and  evil.  The  Miracle  Man  is 
the  personification  of  the  forces  of  good.  On  the  other  hand,  we  must  have  those 
who  personify  evil.  A  group  of  criminals  is  perhaps  the  most  likely  contrast.  But 
they  can  not  merely  be  criminals;  they  must  also  be  real  and  human  characters,  and 
for  the  purposes  of  illustrating  the  theme,  they  must  be  as  evil  as  possible  and  yet 
with  the  inherent  worth  that  can  later  develop.  The  author  created  four  such  char- 
acters: a  clever,  handsome  and  likeable  leader;  his  girl;  a  weakling,  who  has  become 
an  opium  fiend ;  a  wretched  fake  cripple,  who  contorts  himself  to  play  upon  the  sym- 
pathy of  the  philanthropic.  Each  of  these  characters  is  real  and  living,  and  the  author 
introduces  them  in  their  natural  environment,  New  York's  Chinatown.  The  opening 
scenes  illustrate  their  characters  and  establish  the  background  and  the  theme  of  the 
story.  Then  the  action  definitely  starts  when  the  leader  of  the  crooks  reads  a  news- 
paper item  referring  to  the  Miracle  Man.  As  soon  as  the  Miracle  Man  and  the 
opposing  group  of  characters  are  brought  together,  there  is  tense,  dramatic  action, 
leading  inevitably  to  the  abandonment  of  their  former  habits  by  the  crooks  and  the 
triumph  of  good. 

The  Chinatown  episode  of  this  story  might  be  objectionable  if  it  were  used 
merely  for  the  sake  of  sensation,  but  its  use  is  legitimate  because  it  leads  to  the  full 
expression  of  a  significant  and  vital  theme  of  inspirational  value.  In  a  story  with  a 
less  appealing  theme,  the  character  of  the  morphine  fiend,  for  example,  would  be 
objectionable.  In  general,  the  drug  habit  and  similar  subjects  should  be  scrupulously 
avoided,  for  they  possess  no  entertainment  value. 

A  careful  study  of  this  production  will  illustrate  the  comments  on  theme  and  char- 
acterization and  dramatic  technique  that  have  been  made  in  the  introduction.  The 
author  who  strives  to  create  stories  as  tense  and  appealing  as  "The  Miracle  Man", 
even  though  they  are  based  upon  totally  different  themes,  will  go  far  in  his  profession, 
for  it  embodies  virtually  all  of  the  qualities  an  effective  photoplay  should  have. 

"MOLLY  AND  I." 

(Fox  production;  starring  Shirley  Mason;  story  by  Frank  R.  Adams;  scenario 
hy  Isabel  Johnson;  directed  by  Howard  M.  Mitchell.) 

Synopsis. 
Shirley  Brown  becomes  interested  in  an  author,  Philip  Smith,  through  his  writ- 
ings. She  learns  that  he  is  blind  and  penniless  and  unable  to  afford  a  trip  to  Italy, 
luhere  a  well  known  occulist  could  cure  him.  Shirley  will  come  into  possession  of  a 
legacy  on  her  wedding  day,  and  in  order  to  help  her  idol,  she  proposes  that  he  marry 
her,  explaining  that  she  is  an  old  maid  and  desirous  of  a  husband.  Philip  marries  the 
girl,  and  in  Italy  his  sight  is  restored,  while  Shirley  waits  for  his  return.  When  he 
comes  back  to  America,  however,  he  takes  up  his  life  in  the  artists'  colony  and  ignores 
the  fact  that  he  is  married.  Shirley  dresses  herself  as  an  Alsatian  girl  and  begs  to 
become  Philip's  servant,  not  letting  him  know  her  true  identity.  In  time  Philip  comes 
to  love  the  girl.  Another  woman  attempts  to  interfere  with  the  affair  and  separates 
the  lovers  for  a  ivhile,  but  Philip  only  conies  to  understand  hoiv  truly  he  loves  Shirley. 
Then  he  learns  that  the  little  girl  is  his  tvife  and  the  tivo  are  reunited  and  made 
completely  happy. 

114 


The  story  material  of  this  photoplay,  adapted  from  a  very  short  novel  which  was 
padded  by  clever  dialogue,  is  only  sufficient  for  two  reels.  The  failure  of  this  pro- 
duction results  from  stretching  the  very  slight  plot  through  five  reels  of  cute  man- 
nerisms on  the  part  of  the  star.  The  blindness  of  the  hero,  Sliirley's  care  of  him,  and 
their  marriage,  provide  a  very  good  basis  on  which  to  build  a  photoplay,  and  the  char- 
acterization of  the  original  story  was  well-developed.  But  the  producer  and  the 
scenario  writer  evidently  did  not  perceive  the  true  dramatic  value  inherent  in  the 
characterization.  They  have  adapted  material  that  should  have  been  used,  if  at  all, 
merely  as  the  basis  for  a  strong  and  well-rounded  photoplay. 

On  the  whole  the  plot  is  better  suited  to  fiction  than  to  the  photoplay,  for  it 
is  very  implausible  that  the  hero  should  be  so  stupid  as  not  to  recognize,  even  though 
blind,  the  charming  heroine.  The  blind  are  not  lacking  in  other  sensibilities,  and  only 
in  a  brisk  and  clever  narrative,  which  would  keep  the  reader  from  analyzing  the  plot 
basis,  could  this  material  be  made  effective. 

Situation  II,  "Deliverance,"  and  a  ver>'  slight  use  of  XXVIII,  "Obstacles  to 
Love,"  form  the  basis  of  the  play.  The  analj'sis  of  the  situations  is  sufficient  to 
indicate  the  story's  lack  of  dramatic  and  screen  value,  and  it  also  shows  the  absurdity 
of  adapting  unsuitable  material  to  the  screen.  It  is  of  further  value  to  the  student  as 
an  example  of  a  mild,  undramatic,  uncomplicated  kind  of  a  play  that  can  not  be  made 
effective  on  the  screen  and  should  therefore  be  developed  in  a  totally  difierent  way. 

"MORE  DEADLY  THAN  THE  MALE." 

(Paramount-Artcraft  production;  written  by  Joseph  Gollomb;  scenario  by  Julia 
C.  Ivers;  directed  by  Robert  G.  Vignola;  starring  Ethel  Clayton.) 

Synopsis. 

Helen  O'Hara,  actress-manager,  meets  Richard  Carlin  just  as  he  is  getting  ready 
for  a  trip  to  Zululand  in  search  of  adventure.  Carlin  delays  his  departure,  is  intro- 
duced to  Helen's  husband,  Terrence  O'Hara,  and  accepts  an  invitation  to  visit  her  at 
her  mountain  camp.  Carlin  goes,  Helen  leads  him  on  to  embrace  her.  Terrence 
appears  and  challenges  Carlin  to  a  duel.  It  takes  place  and  Terrence  is  wounded. 
A  dam  near  the  village  bursts  and  Carlin,  who  has  just  learned  from  Helen  that  she 
met  him  during  college  and  loves  him,  rushes  with  the  girl  to  the  dam,  ivhere  they 
succeed  in  replacing  the  logs.  Carlin  kidnaps  Helen  in  his  auto  and  reaches  the  yacht, 
which  is  waiting  for  him.  The  police  patrol  prevents  the  yacht  from  sailing.  Carlin 
jumps  overboard  and  is  stunned.  He  recovers  to  find  himself  in  a  bed  in  Helen's 
camp.  He  finds  that  Terrence  is  Helen's  brother  and  that  she  planned  the  scheme 
to  keep  him  from  going  abroad.     Carlin  decides  to  remain  at  home  and  with  Helen. 

This  photoplay  presents  an  interesting  combination  of  romantic  melodrama  and 
comedy.  The  idea  of  a  man  asserting  that  he  has  to  travel  to  the  ends  of  the  earth 
for  adventure  and  a  girl's  efforts  to  show  him  that  adventure  is  everywhere  to  be 
found  is  by  no  means  a  new  one,  but  in  this  story  it  is  given  very  clever  treatment, 
especially  in  the  surprise  climax.  Although  the  plot  is  light  and  rather  absurd,  it 
possesses  so  strong  a  vein  of  humor  and  such  romantic,  swift  action  that  it  engrosses 
the  interest  of  most  spectators.  As  an  example  of  the  clever  treatment  of  a  melo- 
dramatic idea,  by  which  the  thrill  of  the  melodrama  is  relieved  by  pleasing  human 
comedy,  it  would  be  difficult  to  replace  "More  Deadly  Than  the  Male".  This  type 
of  play,  combining  the  two  most  popular  kinds  of  plots,  will  always  be  effective,  but 
the  student  should  not  be  deceived  into  believing  that  it  is  a  simple  thing  to  give  a 
melodrama  such  a  comedic  twist.  It  requires  very  skillful  treatment  and  a  genuine 
sense  of  humor  and  comedy  values  on  the  part  of  the  original  author. 

The  situations  that  form  the  plot  structure  are  "Daring  Enterprise"  (IX), 
"Abduction"  (X),  and  "Mistaken  Jealousy"  (XXXII).  The  first  of  these  three  is 
used  with  especial  effect  and  in  an  unusual  way,  but  the  others  arc  employed  con- 
veniently. The  novelty  of  the  surprise  ending  and  the  cleverness  of  the  play  depends 
upon  the  well-contrasted  use  of  "Daring  Enterprise". 

115 


In  the  actual  production,  as  in  most  successful  comedy  dramas,  there  were  many 
clever  notes  of  humor  that  enlivened  the  play  and  held  the  interest  of  the  spectators. 
In  the  climax,  for  example,  in  variation  from  the  usual  and  stereotyped  lovers'  embrace, 
the  author  of  this  story  had  the  lovers  vanish  from  the  scene  and  then  a  parrot  in  the 
room  squawked  exultantly:  "He  kissed  her!  He  kissed  her!"  Throughout  a  story 
of  this  kind  the  author  must  endeavor  to  create  little  touches  of  humor  and  human 
action  that  will  make  an  appeal  to  the  eye  of  the  spectator;  but  all  of  these  minor 
details  must  fit  naturally  and  plausibly  into  the  plot  pattern  if  the  play  is  to  be  really 
effective. 

"NO  BABIES  ALLOWED." 
(One  reel  Christie  Comedy;  featuring  Jimmy  Harrison  and  Dorothy  DeVore.) 

Synopsis. 

"No  Babies  Allowed"  deals  with  the  youthful  couple  who  are  unable  to  find  an 
apartment  house  because  of  the  objection  to  children.  They  almost  give  up  in  despair 
when  they  resort  to  camouflage  and  gain  admittance  by  employing  a  tradesman  to 
carry  baby  up  in  a  basket.  The  busy,  snooping  landlord  causes  the  parents  to  deposit 
the  infant  on  the  dumbivaiter  and  it  is  taken  to  the  orphan  asylum.  After  many 
difficulties  and  adventures  they  get  the  child  back,  and  at  the  picture's  end  we  see 
them  building  their  own  house. 

This  short  comedy  presents  a  clever  satire  on  the  objections  to  children  of  some 
apartment  house  owners,  combined  with  an  amusing  story  of  the  troubles  of  a  young 
couple.  There  have  been  many  stories  written  around  the  same  idea  of  "No  Babies 
Allowed,"  but  in  this  case  the  idea  was  used  skillfully  and  with  many  novel  incidents 
that  provoked  laughter.  The  loss  of  the  child  involves  a  subdivision  of  Situation  VI 
("Disaster"),  with  which  is  combined  XXXIII  ("Erroneous  Judgment"). 

The  story  may  be  considered  as  a  good  example  of  one-reel  comedy,  although  in 
its  climax  it  lacks  the  suspense  and  tension  even  a  short  photoplay  should  have.  A 
one-reel  comedy  should  progress  briskly  from  one  amusing  situation  to  another  and 
should  move  directly  towards  the  climax,  maintaining  suspense  until  the  last  moment 
of  the  play.  This  ideal  is  not  always  attained,  by  any  means,  but  comedies  founded 
upon  clear  and  interesting  conflicts  usually  lead  to  such  climaxes. 

Perhaps  the  real  weakness  of  the  climax  lies  in  the  fact  that  it  offers  no  genuine 
solution  of  the  predicament.  If  the  young  couple  could  build  their  own  home,  they 
would  not  have  had  to  search  for  an  apartment.  But  what  about  the  spectators  who 
are  in  the  same  predicament  and  still  find  it  necessary  to  pay  rent  to  a  Pharoah-like 
landlord?  A  good  photoplay,  even  a  short  comedy,  should  present  a  solution  of  its 
basic  predicament. 

"NOTHING  BUT  THE  TRUTH." 

(Taylor  Holmes  production;  starring  Taylor  Holmes;  from  the  novel  of  the 
same  name  by  Frederic  S.  Isham  and  the  stage  play  by  James  Montgomery;  directed 
by  David  Kirkland.) 

Synopsis. 

Robert  Bennett,  a  society  idler,  wagers  with  his  three  friends  that  he  can  tell 
the  truth  and  nothing  but  the  truth  for  one  week.  His  troubles  commence  at  a  house 
party  given  by  Airs.  Ralston.  The  wives  of  his  friends  pick  him  out  and  question 
him  about  their  husbands'  doings  away  from  home.  He  is  forced  to  tell  the  truth 
with  the  result  that  divorce  proceedings  are  started.  His  friends  try  to  force  him 
to  quit.  He  refuses.  They  incarcerate  him  in  an  insane  asylum,  but  he  escapes  with 
the  aid  of  the  Baby  Vamp,  who  considers  him  a  gentleman  burglar.  Things  become 
quite  complicated  when  a  real  burglar  enters  the  scene.  The  time  limit  for  the  bet 
being  up,  Bennett  is  allowed  to  square  his  friends  and  win  Gwendolyn  for  his  bride. 

116 


"Nothing  But  the  Truth"  was  a  very  readable  light  novel  and  the  stage  farce 
supplied  an  amusing  vehicle  for  Willie  Collier.  In  the  screen  version  Taylor  Holmes 
scored  an  individual  triumph  as  a  farceur,  but  the  plot  was  so  very  slight  and  farcical 
that  it  could  not  hold  the  interest  of  the  audience.  There  have  been  many  stage 
farces  developed  from  the  same  premise  of  a  wager  of  an  amusing  kind.  In  this  case 
the  wager  is  especially  well  chosen  because  of  its  satiric  reflection  upon  the  practice 
of  truth  telling.  Starting  with  the  very  same  basic  idea  a  skillful  photoplaywright, 
recognizing  the  need  of  objective  action  and  a  strong  plot,  might  have  worked  out 
a  really  successful  comedy.  In  this  case  the  use  of  the  incarceration  of  the  hero  in 
an  insane  asylum,  the  illogical  and  unnecessary  entrance  of  the  burglar  at  a  convenient 
moment,  and  the  very  slim  plot,  all  give  the  story  a  frailty  that  sufiFers  when  it  is 
shown  on  the  screen.  Produced  in  the  two-reel  length,  the  story  would  be  very 
amusing  and  entirely  adequate,  but  in  five  reels  the  inherent  weakness  and  lack  of  con- 
flict makes  the  play  dull  and  slow  in  movement.  It  is  impossible  to  sustain  interest 
in  a  farce  throughout  five  reels  unless  the  material  is  so  ample  that  it  can  be  played 
in  a  swift  and  comedic  tempo. 

A  farce  requires  more  situations  in  quick  succession  than  any  other  kind  of  photo- 
play. The  events  must  occur  breathlessly  and  unexpectedly,  and  one  situation  must 
alwaj's  seem  to  be  crowding  out  another  for  a  place  in  the  action.  The  difficulty  of 
finding  an  inceptive  situation  strong  enough  to  furnish  so  many  complications  is  the 
basic  reason  for  the  failure  of  most  farces.  In  this  play,  however,  there  is  a  very 
good  basis,  but  the  authors  have  dealt  so  entirely  from  the  standpoint  of  the  novel 
and  the  stage  that  the  story  can  not  undergo  the  translation  to  the  screen  without 
losing  most  of  its  humor. 

Only  two  situations  enter  the  story  in  any  degree:  "Daring  Enterprise",  (IX), 
used  in  a  satiric  way,  and  "Erroneous  Judgment",  (XXXIII).  The  play,  therefore, 
serves  as  an  example  of  a  very  amusing  idea  used  unsuccessfully  in  the  photoplay ; 
although  the  wager  premise  has  been  sadly  overdone  in  the  past  it  would  be  worth 
while  to  attempt  the  construction  of  a  farce  along  these  lines  and  to  develop  it  to  its 
full  comedic  power,  with  sufficient  situations  to  carry  the  action  throughout  five 
reels.  Only  by  actual  practice  in  the  construction  of  stories,  even  if  you  go  no  fur- 
ther than  to  write  a  plot  outline,  can  you  acquire  technical  facility  in  the  use  of 
situations. 

"NURSE  MARJORIE." 

(Realart  production;  starring  Mary  Miles  Minter;  from  the  play  by  Israel 
Zangwill;  scenario  by  Julia  Crawford  Ivers;  directed  by  William  Desmond  Taylor.) 

Synopsis. 

Lady  Marjorie,  the  only  daughter  of  the  Duke  and  Duchess  of  Donegal,  shocks 
her  parents  by  entering  a  sanitarium  and  becoming  a  nurse.  She  enters  into  hospital 
work  with  a  tvill.  A  little  lame  boy,  Dick,  is  one  of  her  patients  and  the  other 
is  John  Danbury,  a  member  of  the  House  of  Commons,  who  has  had  an  operation 
on  his  eyes.  He  falls  desperately  in  love  with  Marjorie,  but  she  devotes  most  of 
her  time  to  Dick.  To  prove  John's  love,  Marjorie  pretends  she  is  the  daughter  of 
a  fish  peddler,  and  she  asks  him  to  call  at  her  home.  She  then  obtains  the  assistance  of 
Biddy  O' Mulligan,  who  poses  as  her  mother.  John  is  undaunted  and  persists  in  asking 
Marjorie  to  marry  him,  in  spite  of  the  fact  that  his  people  are  ready  to  disoivn  him. 
Finally,  Marjorie  reveals  her  real  identity  to  John,  who  then  refuses  to  marry  her 
and  ruin  his  career.  However,  when  the  two  families  get  together,  John  is  made  to 
realize  the  importance  of  the  alliance  and  all  ends  happily. 

This  adaptation  of  Israel  Zangwill's  stage  satire  of  English  caste  prejudices  con- 
tains enough  romance  to  be  pleasing  on  the  screen,  but  it  is  so  deficient  in  the  other 
qualities  of  a  successful  photoplay  that  it  can  not  be  considered  as  suitable  photoplay 
material.     As  a  stage  play  it  proved  interesting  and  amusing  through  many  seasons, 


but  there  is  no  apparent  reason  for  its  adaptation  as  a  photoplay  other  than  the  author's 
name.  And  Zangwill,  for  all  his  writing,  is  no  better  known  to  the  average  spectator 
than  Julia  Crawford  Ivers,  who  wrote  the  scenario. 

The  storj'  is  so  entirely  British,  and  has  so  little  bearing  upon  the  life  of  the 
average  American,  that  it  can  not  provide  intelligent  entertainment  except  in  its 
romantic  sequences.  And  there  is  so  little  real  action  of  dramatic  value  in  the 
story  that  it  can  not  be  told  on  the  screen  without  the  use  of  many  subtitles  and 
inserts.  Danbury's  fear  of  marrying  the  girl  of  the  nobility  because  of  his  career  is 
not  an  objective  conflict  that  can  be  made  clear  in  pictured  action. 

Situation  VIII,  ("Revolt"),  is  used  in  an  interesting  way  in  the  beginning  as  an 
introduction  of  the  heroine.  But  it  is  quicklv  dropped  and  the  major  portion  of  the 
play  depends  upon  XXVIII,  ("Obstacles  to  Love"),  combined  with  XXXIII,  ("Er- 
roneous Judgment").  The  lack  of  dramatic  action  is  therefore  apparent  from  the  situa- 
tions, and  as  a  result  the  story  shows  its  stage  origin  and  its  unsuitability  for  the 
screen.  The  photoplaywright  with  a  similar  plot  premise  should  build  a  more  com- 
plicated and  dramatic  plot,  and  one  that  can  be  made  clear  to  the  spectator  by  means 
of  screen  action. 

"ON  WITH  THE  DANCE." 

(George  Fitzmaurice  production;  released  by  Paramount;  adapted  by  Ouida 
Bergere  from  the  play  by  Michael  Morton;  directed  by  George  Fitzmaurice.) 

Synopsis. 

Sonia  Varinoff,  a  little  Russian  girl:  Peter  Derwynt,  a  southern  architect;  Lady 
Joane  Tremelyn,  an  English  peeress,  and  Jimmy  Sutherland,  a  rich,  uncultivated  west- 
erner, are  thrown  together  by  the  eddyings  of  the  melting  pot  of  New  York  City. 
It  is  natural  that  Derwynt  and  Lady  Joane,  with  high  ideals  and  cultivated  tastes, 
should  be  mutually  attracted,  but  Sonia,  who  after  her  father's  death,  becomes  Der- 
wynt's  ivard,  is  a  disturbing  note  in  their  happiness.  She  loves  Derwynt  herself,  and 
finally  seizes  an  opportunity  to  compromise  him  before  Lady  Joane,  to  save  him  for 
herself.  Lady  Joane  breaks  off  the  engagement,  and  at  her  mother's  earnest  behest, 
marries  Sutherland,  who  has  nothing  but  his  money  to  commend  him.  Unhappiness 
results  on  both  sides,  and  Derwynt  and  Sutherland  seek  solace  in  the  company  of 
each  other's  wives.  Denvynt  surprises  Sonia  dancing  for  Sutherland  in  her  own 
home,  and  throivs  out  the  visitor.  He  later  learns  that  she  is  dancing,  jnasked,  in 
a  public  place,  under  the  auspices  of  Sutherland.  He  kills  the  latter  and  is  put  on 
trial.  When  it  seems  that  there  is  no  hope  for  him,  Sonia  rushes  to  the  courtroom, 
a  voluntary  witness,  and  to  save  her  husband,  blackens  her  oivn  character.  Derwynt 
is  acquitted,  and  Sonia,  realizing  that  his  love  belongs  to  Lady  Joane  goes  to  drown 
herself,  but  is  saved  by  Van  Vechten,  Derwynt's  friend  and  advisor,  who  later  mar- 
ries her,  while  Derwynt  marries  Lady  Joane. 

The  idea  of  bringing  four  widely  different  characters  together  and  allowing  them 
to  work  out  their  destinies  and  conflicts  forms  the  basis  of  this  story.  With  such  a 
basis  the  plot  development  depends  entirely  upon  the  logic  of  the  characterization. 
Although  from  the  brief  synopsis  here  quoted,  it  would  appear  that  the  killing  of 
Sutherland  is  somewhat  forced ;  in  the  actual  production  the  characters  were  very 
clearly  delineated  and  it  seemed  perfectly  natural.  The  melodrama  of  the  climax 
is  relieved  by  the  irresponsible,  irrepressible  characterization  of  Sonia  (played  by  Mae 
Murray),  and  by  the  idealism  of  Derwynt  and  Lady  Joane. 

It  is  worth  while  to  observe  that  the  inceptive  situation  and  the  four  characters, 
with  slight  changes,  could  have  led  to  a  romantic  comedy  drama.  Such  a  play  might 
have  been  more  logical  and  less  artificial  and  it  is  likely  that  it  would  have  made 
a  still  wider  appeal  to  the  public. 

lis 


"Erroneous  Judgment"  (XXXlll),  used  in  several  different  forms,  "Fatal 
Imprudence"  (XVII),  and  "Self-sacrifice  for  Kindred"  (XXI),  enter  the  plot  of 
the  story. 

It  is  rather  difficult  to  make  use  of  four  characters  of  almost  equal  importance 
in  this  way  and  to  reach  a  dramatic  conclusion.  Even  in  this  case,  the  author  found 
it  necessary  to  drop  one  from  the  cast  and  to  restrict  the  major  conflict  within  the 
dramatic  triad.  The  "double  triangle",  as  the  use  of  two  overlapping  groups  of  char- 
acters is  called,  may  often  be  employed  effectively  in  comedy  drama  in  which  the  plot 
involves  "Mistaken  Jealousy"  (XXXII). 

From  the  brief  s}nopsis  not  a  great  deal  is  learned  of  the  characterization,  but  it 
must  be  remembered  that  only  by  quite  unusual  characterization  could  a  plot  of  this 
kind  be  made  effective.  The  character  of  Sonia,  the  rather  wild  Russian  girl,  is 
especially  effective  in  contrast  with  the  more  reserved  and  staid  Derwynt  and  Lady 
Joane.    The  value  of  the  play  largely  depends  upon  character  and  character  contrasts. 

"THE  OTHER  HALF." 

(Produced  by  Brentwood;  all-star  cast;  \Aritten  and  directed  by  King  V'idor. ) 

Synopsis. 

The  picture  portrays  a  medium-sized  town,  to  u-hich  a  captain  and  a  corporal 
return  to  take  up  civil  life  after  the  late  tvar. 

They  are  great  pals,  but  as  the  young  captain  succeeds  his  father  in  charge  of 
most  of  the  city's  biggest  industries,  and  the  young  corporal  works  hard  as  a  machin- 
ist in  one  of  his  factories,  their  paths  lead  temporarily  apart. 

When  the  corporal  is  made  foreman  and  requests  certain  repairs  made  at  the 
factory  to  protect  the  lines  of  the  workmen,  the  young  captain,  now  hardened  to  senti- 
ment by  financial  environments,  refuses.  A  falling  ivall  buries  the  young  corporal  in 
the  debris  and  temporarily  blinds  him  and  he  apparently  seeks  justice  in  vain. 

His  hard  working  but  breezy  siveetheart  sticks  by  him  and  becomes  acquainted 
ivith  the  young  financier's  girl,  uho  ivalks  in  the  higher  places.  This  icealthy  girl's 
interest  is  so  aroused  that  she  refuses  marriage  with  the  young  financier  and  attaches 
herself  to  a  neivspaper  to  help  it  editorially  and  financially.  An  article  that  she 
writes  opens  the  eyes  of  the  young  financier  and  he  sees  the  light.  And  the  young 
corporal's  eyes  are  also  literally  opened  at  the  same  time. 

This  story,  like  "The  Miracle  Man,"  deals  with  a  vital  and  significant  theme, 
and  in  a  degree  the  same  idea  of  miraculous  healing  is  involved.  This  photoplay  is 
more  "preachy"  and  therefore  somewhat  less  generally  entertaining  than  the  example 
we  have  just  considered,  but  the  human  quality  oi  its  conflict  is  genuinely  dramatic. 
It  is  a  simple,  small-town  story,  dealing  with  social  readjustments  after  the  war, 
and  it  carries  a  real  message  to  the  spectators.  Situation  VII,  ("Revolt"),  VI, 
("Disaster"),  and  XXIV,  ("Rivalrj'  between  Superior  and  Inferior"),  form  the 
backbone  of  the  plot.  Again  the  interest  lies  in  the  theme  and  characterization,  rather 
than  in  plot  complexity  or  tricky  technique.  The  story  is  simple  and  direct,  but  the 
human  appeal  is  sufficient  to  hold  the  interest  throughout  its  action. 

The  subject  of  the  conflict  between  capital  and  labor  is  in  general  unsuited  for 
screen  portrayal,  but  in  this  case  it  is  made  valuable  because  the  conflict  manifests 
itself  clearly  in  the  two  central  characters.  The  industrial  background  is  properly 
subjected  to  the  human  conflict  of  wills,  which  is  the  proper  concern  of  the  dramatist. 

"The  Miracle  Man"  and  "The  Other  Half"  illustrate  the  sentence  we  have 
underscored  in  Part  I.     Until  we  have  iiriters  who  are  concerned  with  Theme,  lie  shall 

not  have  genuinely  satisfactory  photoplays. 

1J9 


"PAID  IN  ADVANCE." 

(Produced  by  Universal;  starring  Dorothy  Phillips;  suggested  by  a  story  by 
James  Oliver  Garwood;  written  and  directed  by  Allen  Holubar. ) 

Synopsis. 

A  beautiful  young  girl  is  persuaded  to  accept  a  position  in  Dawson  City  to  act 
as  nurse.  Her  employer  is  the  unprincipled  owner  of  the  notorious  dance  hall  and 
tells  her  that  all  the  dance  hall  girls  are  called  nurses  up  there.     She  is  frantic. 

Forced  to  choose  between  becoming  his  mistress  or  throiving  her  lot  with  the 
other  dance  hall  girls,  she  makes  a  big  decision  and  offers  herself  to  the  highest  bidder. 
Many  thrilling  fights  and  intensely  dramatic  scenes  are  registered  throughout  this 
fast  moving  production,  and  this  was  but  one  of  the  big  moments. 

The  "cur"  of  the  camp  wins  her  in  the  auction  by  offering  his  valuable  claim 
and  outbidding  all  the  others.  But  the  "cur"  ivas  also  the  cozvard  of  the  camp, 
and  luhen  threatened  by  the  proprietor,  he  cravenly  yields  possession  of  the  girl.  She 
stings  him  and  ignited  the  slight  spark  of  manhood  in  the  "cur"  when  she  scornfully 
taunts  him  by  crying,  "Oh,  if  you  were  only  a  man." 

This  aiL'akens  him,  and  then  things  happen  in  real  lively  fashion.  He  cleans 
out  the  dance  hall  in  short  order  in  his  anger,  and  after  that  he  manages  to  redeem 
himself  so  that  he  is  worthy  of  the  girl  ivho  had  grown  to  worship  him  with  a  great 
love. 

There  have  been  many  Alaskan  melodramas  written  and  produced  which  have 
involved  many  of  the  same  plot  elements  of  this  story.  Although  the  plot  can  not  be 
considered  as  original  or  novel,  it  is  a  very  well-rounded  and  thrilling  melodrama 
of  its  kind,  with  excellent  opportunities  for  tense  dramatic  acting  and  for  legitimate 
thrills.  In  this  case  it  is  the  treatment — the  dramatic  structure — of  the  play,  rather 
than  any  inherent  worth,  that  makes  it  effective  and  interesting.  Combined  with 
good  direction,  picturesque  backgrounds,  and  a  good  scenario,  the  well-organized  plot 
furnishes  excellent  entertainment  of  its  kind.  Really  worth-while  Alaskan  melo- 
drama will  perhaps  always  be  popular  in  some  degree,  but  most  writers  err  in  attempt- 
ing this  kind  of  photoplay  by  devising  weak  and  simple  plots  to  place  against  the 
great  background  of  the  Nprth.  By  the  very  nature  of  the  scenic  background,  the 
plots  of  such  stories  should  be  more  complicated  and  more  thrilling  than  alm.ost  any 
other;  it  is  impossible  to  conceive  a  quiet,  simple  story  laid  in  such  a  locale,  for  the 
mind  expects  great  events  in  a  great  country. 

There  is  a  wealth  of  situational  strength  and  a  wealth  of  incident  and  character 
reaction  in  the  story,  starting  with  the  situation  of  "Erroneous  Judgment,"  (XXXIII), 
by  which  Joan  is  suspected  of  causing  the  death  of  MacTeague,  then  progressing  to 
Situation  VII,  ("Falling  Prey  to  Cruelty  and  Misfortune"),  when  Joan  comes  under 
the  power  of  Barker,  and  proceeding  on  to  the  very  dramatic  use  of  Situations  I 
and  II,  ("Supplication"  and  "Deliverance"),  when  Joan  sells  herself  to  the  "cur," 
who  is  the  highest  bidder.  There  are  other  lesser  situations,  but  these  four  form  the 
basic  plot  structure,  and  then  the  story  ends,  after  a  reasonable  time  lapse,  with  the 
reunion  of  Joan  and  her  reformed  husband.  Possessed  of  quick  and  objective  action, 
and  developed  through  an  interesting  series  of  situations  to  a  dramatic  climax,  this 
story  is  a  very  good  example  of  a  well-constructed  photoplay.  If,  in  addition,  it  had 
been  given  more  authentic  characterization  and  a  more  novel  plot,  it  would  have 
been  a  very  great  picture.  But  so  far  as  plot  construction  goes,  it  is  one  of  the  best 
of  the  many  Alaskan  photoplays  that  have  been  produced.  The  student  should  study 
it  especially  to  observe  how  skillfully  the  director  has  balanced  his  cast,  in  such  a 
way  that  there  is  a  chance  for  genuine  drama  at  almost  any  moment  of  the  play.  With 
a  cast  so  well  chosen  for  dramatic  contrast,  it  would  be  virtually  impossible  to  write 
a  dull  story. 

120 


"HIS  PARISIAN  WIFE." 

(Produced  by  Artcraft;  starring  Elsie  Ferguson;  written  by  Eve  UnscU;  directed 
by  Emile  Chautard.) 

Synopsis. 

In  Paris,  Martin  Wesley,  a  young  American  laivyer,  meets  Fauvette,  a  reporter 
on  one  of  the  city's  newspapers.  After  a  brief  courtship,  he  marries  her  and  then 
takes  her  home  with  him  to  his  people  in  Boston.  Wesley's  parents  treat  his  wife 
coldly.  They  look  upon  anything  from  the  French  city  with  a  degree  of  horror, 
and  though  Fauvette  has  beauty,  breeding  and  refinement,  they  instantly  brand  her 
as  unfit  company  for  the  ancient  Neiu  England  stock  that  they  are.  This  attitude 
of  his  parents  towards  Fauvette  begins  to  take  root  in  Wesley,  finally,  and  he  asks 
himself,  "Alight  she  not  have  a  past,  after  allf"  He  shortly  begins  to  treat  her 
cruelly  by  sometimes  ignoring  her  and  sometimes  asserting  what  he  believes  to  be 
his  rights  as  a  husband. 

On  the  night  that  Tony  Rye,  Wesley's  friend,  comes  for  dinner,  Fauvette  appears 
in  a  rather  low-cut  gown  and  this  causes  the  cloud-burst.  Wesley  upbraids  her. 
Afterwards  Wesley  leaves  her  to  enable  her  to  divorce  him.  Fauvette  goes  to  New 
York  and  soon  makes  a  success  of  writing.  Her  books  bear  the  name  of  "Marie 
Trieste,"  as  authoress,  and  she  soon  becomes  ividely  known  under  this  name.  Wesley, 
ivho  at  first  turned  to  drink  to  forget  his  wife,  reforms  and  makes  a  name,  winning 
an  important  law  case.  He  decides  to  go  to  Nezv  York  and  lays  a  plan.  He  is  well 
aware  that  Tony  admires — even  loves — his  wife,  and  his  plan  is  to  win  her  back  for 
himself  and  then  tell  her  that  she  can  go  to  Tony  I 

But  when  he  again  comes  in  contact  with  her,  Wesley  realizes  more  than  ever 
that  he  really  loves  his  wife.  And  instead  of  carrying  out  his  ironical  revenge,  he 
begs  for  forgiveness  and  offers  himself  to  her.  So,  each  realizing  their  shortcomings, 
they  arrive  at  a  happy  understanding  at  last. 


idea  of  vengeance  also  plays  a  minor  part  in  the  story,  but  it  does  not  develop  into 
dramatic  action. 

The  story  is  an  excellent  example  of  what  may  be  done  with  ver\'  simple  material. 
In  this  case  the  plot  inevitably  springs  from  the  inter-relation  of  the  characters.  Given 
the  French  girl,  the  Puritanic  young  New  Englander  with  his  background  of  family 
life,  and  the  drama  is  well  established.  Of  all  the  examples  we  have  considered,  this 
story  compares  best  with  "The  Miracle  Man"  in  the  qualit>'  of  its  character  contrast. 
It  lacks  a  great  theme,  but  it  deals  humanly  with  a  subject  of  timely  interest,  and  it 
does  possess  dramatic  appeal. 

There  is  one  element  in  the  story  that  deserves  especial  attention— the  success 
of  the  heroine  as  an  author.  In  this  case  her  success  is  plausible  because  she  is  mtro- 
duced  to  us  as  a  reporter  on  a  French  newspaper.  The  high  literary  standards  of 
Parisian  papers  makes  her  later  literary  success  plausible.  But  many  writers  make 
the  error  of  picturing  a  little  country  girl,  or  a  small-town  immature  hero,  with  no 
previous  training  or  experience,  making  a  similar  brilliant  success.  It  is  then  very 
implausible.  It  should  also  be  remembered  that  there  is  no  vital  dramatic  interest 
in  success  itself,  and  it  is  only  of  dramatic  value  when  it  is  the  culmination  of  a 
dramatic  struggle. 

"THE  PEACE  OF  ROARING  RIVER." 
(Produced  by  Gold\vyn ;  starring  Pauline  Frederick;  story  by  George  E.  Van 
Schaik;  directed  by  Victor  L.  Schertzinger.) 

121 


Synopsis. 

A  young  working  girl  in  a  middle-west  city,  just  after  a  siege  of  sickness  in  a 
hospital,  and  out  of  work. 

Her  doctor  advises  the  country  air  and  her  landlady  finally  induces  her  to  reply 
to  a  matrimonial  advertisement  apparently  inserted  by  a  lonesome  mine-owner  of 
Nevada.  Then  the  scenes  change  to  a  Nevada  mining  toun  during  the  correspond- 
ence which  followed. 

It  seems  that  the  young  post-mistress  fairly  hated  a  young  mine-owner  there 
because  he  spurned  her  attempts  at  making  him  love  her.  It  was  this  woman  who 
inserted  the  advertisement  in  the  matrimonial  paper,  and  it  ivas  this  same  post-mistress 
who  appropriated  every  letter  and  answered  it,  signing  the  young  miner's  name. 

The  beautiful  young  working  girl  of  Omaha  finally  pawned  her  mother's  jewels 
to  make  a  journey  to  Nevada,  and  one  day  ivhen  the  young  miner  returned  to  his 
home  he  found  the  young  girl  there  with  her  trunk.  He  suspected  a  blackmail  plot 
and  his  actions  frightened  the  girl,  who  shot  him.  There  are  many  stirring  scenes 
from  this  point. 

The  girl  quickly  repented  of  her  hasty  action  in  shooting  the  man,  but  she  had 
been  all  unstrung  during  the  previous  night's  vigil  when  he  was  up  in  the  mountains. 
She  quickly  secures  the  doctor,  after  a  wild  and  hazardous  trip,  and  was  overjoyed 
to  find  that  the  wound  was  not  fatal.  The  men  of  the  toiun,  and  also  the  women, 
stirred  up  by  the  post-mistress,  determined  to  run  the  "hussy"  out  of  the  toivn,  but  here 
is  where  the  beautiful  and  much  persecuted  girl  finally  comes  into  her  long  deferred 
happiness. 

The  first  situation  in  this  story  is  again  VII,  ("Falling  Prey  to  Cruelty  or  Mis- 
fortune"), which  we  have  so  often  observed  as  an  excellent  inception  of  a  photoplay. 
In  this  case  it  serves  to  win  the  complete  sympathy  of  the  spectator  for  the  heroine. 
It  is  followed  by  IX,  ("Daring  Enterprise"),  XXXIII,  ("Erroneous  Judgment"), 
and  XXIX,  ("An  Enemy  Loved").  The  third  member  of  the  triad  is  actuated  by 
revenge  (III),  which  later  manifests  itself  in  combination  with  XXXII,  in  the  atti- 
tude of  the  townsfolk  toward  the  heroine. 

The  part  of  the  story  which  concerns  the  young  post-mistress  is  rather  hackneyed 
and  not  quite  plausible,  for  it  involves  the  timeworn  trick  of  intercepted  letters  and 
the  character  of  the  girl,  unless  it  was  very  subtly  suggested,  is  rather  too  cattish  to 
be  effective  in  drama.  The  matrimonial  advertisement  is  also  rather  timeworn,  for 
it  has  formed  the  basis  of  many  comedy  plots.  In  general,  it  is  safe  to  say  that  the 
plot  elements  commonly  found  in  comedy  have  been  exhausted  in  drama.  In  this 
case,  the  very  serious  and  sympathetic  predicament  of  the  heroine  precludes  the  pos- 
sibility of  a  farcical  interpretation  of  the  plot.  But  such  stories  require  very  care- 
ful production,  and  unless  they  are  illustrative  of  a  significant  theme  that  is  definitely 
dramatic,  the  author  should  avoid  them. 

"PICCADILLY  JIM." 

(Selznick  production;  adapted  from  a  story  by  P.  G.  Wodehouse;  directed  by 
Wesley  Ruggles;  starring  Owen  Moore.) 

Synopsis. 

The  play  is  a  farce  dealing  with  intrigues  of  all  sorts,  but  the  main  thread  of 
interest  is  spun  from  the  romance  involving  a  young  chap  named  James  Crocker,  an 
Englishman,  and  Ann  Chester.  Jim  is  known  in  London  as  Piccadilly  Jim,  and  as 
a  neii'spaper  reporter  there  he  gains  considerable  notoriety.  Indeed,  he  makes  such 
a  name  for  himself  that  his  Aunt  in  America  determines  to  go  to  London  and  bring 
him  to  America.  But  Jim  beats  them  at  their  game  and  proceeds  to  America  alone. 
On  shipboard  he  meets  the  girl.  It  is  love  at  first  sight.  Also  it  is  love  ivith  its 
usual  complications,  for  Ann  Chester  hates  a  man  she  has  never  seen.     His  name  is 

122 


James  Crocker  and  he  wrote  a  merciless  criticism  of  some  poems  of  hers  for  a  London 
newspaper.  In  New  York  all  Jim  looks  for  is  an  opportunity  to  be  near  Ann,  so 
he  contracts  to  do  a  little  kidnapping  job  for  her.  Her  cousin  is  eating  and  groning 
fatter  by  the  minute,  and  she  determines  that  the  boy  must  be  made  to  work,  so 
Jim  is  to  kidnap  him  and  send  him  to  a  physical  culture  resort.  Since  Mrs.  Fett  is 
forever  worrying  that  her  son  tvill  be  kidnapped,  Jim's  plot  becomes  the  harder  and 
his  attempt  fails,  thanks  to  the  detective  Airs.  Fett  has  engaged.  But  Jim's  suit  for 
Ann's  hand  succeeds,  so  there  is  no  cause  for  lamentation  ivhen  the  final  scene  arrives. 

This  play  is  a  good  example  of  an  amusing,  though  somewhat  frail,  comedy 
drama  of  the  farcical  type.  It  is  largely  a  sequence  of  farcical  incidents,  well  suited  to 
its  original  form  as  a  magazine  serial,  but  ineffective  on  the  screen,  especially  in  the 
climax,  which  occurs  in  a  convenient  and  conventional  way.  It  is  the  kind  of  plot  that 
might  easily  go  on  forever  and  its  climax  occurs  in  simple  accordance  with  the  whim 
of  the  author  to  end  the  play  and  bring  the  story  to  a  romantic  conclusion. 

The  slender  plot  is  suspended  upon  Situation  XXVIII,  ("Obstacles  to  Love"), 
with  which  is  combined  a  comedic  use  of  the  preceding  situation,  ("Discover)'  of  the 
Dishonor  of  a  Loved  One").  Later  an  amusing  form  of  Situation  IX,  ("Daring 
Enterprise"),  in  Jim's  attempt  to  kidnap  the  heavily  guarded  fat  boy,  is  employed. 
The  many  amusing  incidents  springing  from  this  situation  can  easily  be  imagined,  and 
they,  indeed,  formed  the  best  part  of  the  screenable  action.  The  romance  is  secondary 
to  the  incidental  humor,  and  the  play  was  effective  largely  because  the  incidents  were 
played  in  a  rapid,  farcical  tempo,  which  in  itself  is  conducive  to  comedic  effect. 

Farce  is  seldom  effective  on  the  screen  when  it  is  sustained  for  five  reels.  It  is 
difficult  to  preserve  a  rapid  tempo  for  an  hour,  and  the  audience  usually  desires  moments 
at  least  of  weightier  drama.  On  the  stage,  with  the  rest  between  the  acts  and  the 
advantages  of  the  voice,  farce  is  amusing.  But  the  screen  requires  stories  with  more 
plot  and  with  stronger  situations.  It  is  necessary,  above  all,  to  convince  the  photo- 
play audience  in  some  degree  of  the  reality  of  the  play,  and  farce  is  quite  as  unreal 
as  melodrama  of  the  fantastic  serial  type. 

On  the  basis  of  this  same  idea  it  would  have  been  possible  to  have  built  a  strong 
and  suspensive  plot,  by  combining  other  situations  of  a  less  farcical  nature  with  those 
used.  The  romantic  central  character  and  the  basic  situation  of  "Obstacles  to  Love" 
should  have  supplied  the  author  with  an  excellent  premise.  But  like  many  adapta- 
tions of  novels  and  plays,  the  plot  is  exposed  in  all  its  frailty  before  the  truthful  lens 
of  the  camera.  It  would  be  excellent  practice  for  the  student  to  build  a  stronger 
play  from  the  same  premise  of  characterization  and  situation,  developing  the  plot  along 
the  lines  of  stronger  and  more  compelling  situations  to  a  more  suspensive  climax. 

"POLLYANNA." 

(United  Artists  production  ;  starring  Mary  Pickford  ;  adapted  by  Frances  Marion 
from  the  novel  by  Eleanor  H.  Porter;  directed  by  Paul  Powell.) 

Synopsis. 

PoUyanna,  whose  religion  has  alivays  been  "just  be  glad,"  goes  to  her  Aunt 
Polly  after  the  death  of  her  father.  The  joy  of  her  little  soul  changed  entirely  the 
inhabitants  of  the  town,  but  it  took  quite  a  ivhile  before  the  spirit  of  gladness  made 
itself  felt  upon  her  Aunt.  Whatever  Follyanna  did  was  wrong.  No  matter  how 
hard  she  tried  to  please  she  always  received  a  scolding.  She  endeavored  to  have  her 
Aunt  adopt  little  Jimmie  Bean  without  success,  so  PoUyanna  sneaked  him  into  the 
cellar  and  fed  him.  Her  spirit  of  gladness  softened  the  heart  of  old  John  Pendleton, 
the  rich  man  of  the  village,  and  later  through  an  accident  in  which  PoUyanna  becomes 
paralyzed,  the  Aunt  realizes,  too,  the  value  of  this  child's  teachings  and  becomes  sorry 
for  the  way  she  had  treated  her  niece  in  the  past.  PoUyanna  knew  that  she  only 
could  be  cured  by  Dr.   Chilton,  a  former  sweetheart   of  her  Aunt,  and  after  much 

123 


persuasion  Aunt  Polly  swalloived  her  pride  and  asked  Dr.  Chilton  to  come  to  the 
house.  Pollyanna  was  cured  and  little  Jimmie  Bean  was  adopted  by  the  Aunt,  and 
the  whole  village  felt  the  benefit  of  the  child's  religion  "just  be  glad." 

The  plot  of  this  story  is  a  very  slight  one,  but  it  is  founded  upon  a  theme  that 
appeals  to  the  heart,  and  its  incidents  are  both  amusing  and  poignant.  There  are 
moments  of  genuine  tension,  of  real  drama,  in  the  play,  but  the  significant  thing  is  the 
fact  that  every  incident  and  episode  bears  a  direct  relation  to  the  theme  of  the  story. 
Without  the  theme — the  playing  of  the  Glad  Game — the  play  would  have  been  dull 
and  uninteresting,  and  the  theme  alone  is  almost  sufficient  to  guarantee  a  popular 
reception  of  the  picture.  Although  the  story  bears  traces  of  its  novelistic  origin,  in 
the  narrative  manner  of  its  progression,  the  unity  of  theme  is  so  closely  adhered  to 
by  the  director  and  the  scenario  writer  that  a  single  dramatic  efiect  is  gained.  The 
simplicity  and  the  universality  of  the  theme,  the  pleasing  characterization  of  Polly- 
anna (in  this  case  the  central  character  is  the  human  expression  of  the  theme),  and 
the  interesting  element  of  conflict  supplied  by  those  who  will  not  play  the  Glad  Game 
until  Pollyanna  convinces  them  of  its  worth,  combine  to  make  the  picture  a  very 
great  popular  success. 

A  great  deal  more  credit  is  due  the  producers,  the  director  and  the  star,  perhaps, 
than  the  original  author,  for  the  finished  picture  shows  how  carefully  the  process  of 
elimination  was  practiced.  The  scenario  writer  very  skillfully  eliminated  the  non- 
essentials of  the  novel  and  dramatized,  so  far  as  was  possible,  the  material  of  the  book. 

Various  forms  of  Situation  VII,  ("Falling  Prey  to  Cruelty  and  Misfortune"), 
a  slight  use  of  Situation  XIII,  ("Enmity  of  Kinsmen"),  and  another  form  of  Situa- 
tion X,  ("Abduction"),  subdivision  D-3 — ("Rescue  of  a  Soul  in  Captivity  to  Error") 
— enter  the  plot.  It  is  not  to  be  supposed,  however,  that  these  situations  furnish  the 
greatest  strength  or  charm  of  the  story,  for  as  we  have  indicated,  it  depends  largely 
upon  theme,  characterization  and  human  incident.  It  is,  of  course,  a  very  difficult 
thing  to  develop  so  simple  a  plot,  which  is  another  version  of  the  ever-popular  Cin- 
derella legend,  in  this  effective  way,  and  the  story  indicates  the  importance  of  the 
intelligent  use  of  a  unifying  theme,  of  distinctive  and  human  characterization  that 
properly  expresses  the  theme,  and  of  incidents  that  add  charm  and  humor  to  the  char- 
acterization and  also  emphasize  the  theme.  A  careful  analysis  of  the  production  will 
show  that  each  incident  has  a  direct  bearing  upon  the  theme;  this  is  the  true  test  of 
dramatic  unity.  Most  beginning  writers  would  make  use  of  incidents  for  their  own 
sake,  but  would  overlook  the  necessity  of  developing  them  in  a  cumulative,  integral 
dramatic  whole. 

"THE  PRODIGAL  WIFE." 

(Produced  by  Screcncraft;  starring  Mary  Boland  ;  adapted  from  Edith  Bernard 
Delano's  novel,  "Flaming  Ramparts" ;  scenario  by  Eve  Unsell ;  directed  by  Frank 
Reicher. ) 

Synopsis. 

Marion  Farnham  is  the  u'ife  of  a  poor  but  ambitious  young  doctor  who  lii^es  in 
a  cheap  lodging  house  in  the  city.  Her  greatest  happiness  is  in  her  little  four-year-old 
daughter,  Marna.  Her  husband's  constant  neglect  of  her  leads  to  discontent  and  she 
finally  elopes  with  another  resident  of  the  house  who  has  suddenly  struck  it  rich,  on 
the  condition  that  he  secure  the  child  also.  Deserted,  the  young  doctor  leaves  the  city 
and  takes  little  Marna  into  the  country,  where,  during  the  long  years  that  follotv,  he 
creates  in  her  an  ideal  conception  of  her  mother.  Marion's  lover,  not  able  to  find 
Marna,  reports  her  dead  and  so  both  mother  and  child  grew  older,  each  believing  the 
other  in  another  land. 

Mrs.  Farnham  loses  interest  in  life  and  sinks  lower  and  lower.  She  hears  of  her 
husband's  success  in  life  and  resolves  to  appeal  to  him.  She  arrives  at  his  country 
estate  when  he  is  away  and  sees  Marna.    From  her  lips  she  learns  what  the  girl  thinks 

124 


of  her  mother,  and  though  yearning  to  clasp  her  to  her  breast,  goes  away  without  speak- 
ing her  heart.  Later,  however,  she  secures  employment  uith  Mama,  who  has  married 
Dallas  Harvey,  a  young  writer.  She  delights  in  caring  for  the  baby  that  comes  to 
bless  the  life  of  the  young  couple. 

And  it  is  soon  that  Mrs.  Farnham  is  granted  the  opportunity  to  do  her  daughter 
a  service.  She  finds  that  Mama  contemplates  eloping  with  a  false  friend  of  her  hus- 
band's, even  as  she  did  years  before,  and  by  a  recitation  of  her  own  life  she  prevents 
a  duplication  of  the  tragedy.  Dr.  Farnham  hears  all  this  and  his  heart  goes  out  to 
the  woman  he  now  knows  to  be  his  wife,  but  the  woman  ivill  not  go  back  to  him. 
To  atone  for  her  sins  she  goes  out  in  the  world  that  she  may  seek  out  and  protect 
other  young  folk  from  treading  the  wrong  path. 

This  story  is  one  of  the  very  few  examples  of  photoplays  in  which  sensational 
plot  elements  have  been  used  in  a  really  dramatic  and  significant  way.  The  plot  opens 
with  Situation  XVII,  ("Fatal  Imprudence"),  and  XXV,  ("Adultery"),  both  of 
which  are  used  for  the  definite  purpose  of  pointing  a  dramatic  moral.  Situations 
XXXVI  and  XXXIII  are  involved  in  Marion's  loss  of  her  child  and  her  supposition 
that  Marna  is  dead.  In  this  connection  it  is  well  to  observe  that  the  author  has  won 
the  sympathy  of  the  audience  for  her  heroine  even  in  the  face  of  obstacles  by  empha- 
sizing her  love  for  her  child.  Many  writers  would  have  made  Marion  needlessly 
heartless  and  shallow,  and  the  character  would  then  have  been  dramatically  valueless. 
Situation  XXI,  ("Self-sacrifice  for  Kindred")  is  the  dominant  note  of  the  climax, 
and  there  is  genuine  dramatic  tension  in  the  manner  in  which  the  heroine  saves  Marna 
from  the  fate  she  knew  so  well.  The  author  and  the  producer  had  the  courage  in 
this  case  to  avoid  a  merely  happy  ending  for  one  that  is  more  logical  and  more  inspir- 
ing. Marion's  plan  to  go  out  into  the  world  on  a  mission  of  good  is  infinitely  more 
dramatic  than  any  mere  reunion  of  husband  and  wife  might  be,  and  it  is  a  real,  rather 
than  a  sentimental,  solution  of  the  predicament. 

The  time  lapse  divides  the  story  into  two  definite  parts,  each  of  which  is  unified 
and  interesting.  There  is,  therefore,  no  loss  of  dramatic  unity,  and  the  very  theme 
of  the  story  requires  such  a  division. 

Although  this  production  may  be  considered  as  a  very  fine  example  of  a  "sex" 
play,  because  of  the  poignant,  human  theme  it  expresses,  the  writer  is  cautioned  against 
the  use  of  similar  material.  In  general,  the  producers  are  not  seeking  stories  of  this 
type.  But  if  such  a  story  must  be  written,  try  to  make  it  as  good  as  "The  Prodigal 
V^ife." 

"RED  HOT  DOLLARS." 

(Thomas  H.  Ince  production;  starring  Charles  Ray;  written  by  Julien  Josephson; 
directed  by  Jerome  Storm.) 

Synopsis. 

Ted  Burke,  a  worker  in  Peter  Carton's  iron  foundry,  is  hurt  while  saving  his 
employer  from  being  crushed  by  a  huge  timber.  Carton  has  him  nursed  back  to  health, 
adopts  him  and  makes  him  an  executive.  Ted  is  in  love  with  Janet  Muir.  The  let- 
ter's grandfather  and  Carton  are  deadly  enemies.  Unknown  to  the  grandfather,  Ted 
obtains  for  Janet  a  position  in  Carton's  office.  Carton,  not  liking  the  intimacy  be- 
tween Ted  and  Janet,  discharges  the  girl  and  Ted  denounces  the  millionaire  and  quits. 
IVhen  Janet's  grandfather  learns  what  has  happened  he  starts  out  to  thrash  Carton. 
Ted  and  Janet  arrive  in  time  to  interfere.  Ted  berates  both  old  men  soundly  for  their 
obstinate  prejudices  against  each  other  and  they  become  reconciled,  with  happy  results 
for  the  lovers. 

This  story  may  be  considered  as  a  typical  Charles  Ray  vehicle,  of  no  special  nov- 
elty in  theme  or  plot  but  developed  in  a  human,  humorous  and  pathetic  way.  The  idea 
of  the  enmity  between  the  two  old  men  and  the  consequent  obstacle  to  the  love  of  the 

125 


girl  and  boy,  (Situation  XXVIII),  is  of  course  as  old  as  "Romeo  and  Juliet,"  al- 
though in  this  case  it  should  be  noted  that  the  usual  formula  is  violated,  since  the  boy 
is  not  the  son  of  either  man.  In  other  respects  the  story  is  a  simple  and  by  no  means 
novel  one.  But  it  should  be  obsei-ved,  to  the  author's  credit,  that  Mr.  Ray  is  supplied 
with  a  very  human  and  pleasing  characterization,  that  the  story  possesses  a  great  deal 
of  heart  interest,  a  touch  of  pathos,  and  an  amusing  romance.  Although  it  would 
have  been  a  more  dramatic  story  if  other  situations  had  been  introduced,  the  skill  with 
which  the  author  has  played  upon  the  single  theme  and  has  produced  a  single  dramatic 
effect  with  a  minimum  of  material  is  very  commendable.  In  this  storj',  truly,  the 
author  has  eliminated  non-essentials  and  has  concentrated  upon  a  single  idea. 

The  brief  synopsis  quoted  above  can  only  convey  the  basic  plot  structure,  but 
those  readers  who  have  viewed  the  production  will  remember  the  many  clever,  amusing 
and  human  touches  of  action  that  endeared  the  characters  of  the  play  to  them.  It 
requires  greater  technical  skill  to  develop  a  simple  and  uncomplicated  story  of  this 
kind  to  the  five  reel  length  than  to  write  almost  any  other  kind  of  photoplay.  In  such 
a  story  it  is  the  author's  feeling  for  his  characters  and  his  deep  understanding  of  their 
motives  and  ambitions  and  reactions  to  situations  that  lead  to  entertaining  plays.  Mr. 
Josephson,  who  wrote  the  play,  is  especially  skilled  in  the  creation  of  simple,  human 
characters — he  makes  them  live  and  breathe,  and  his  gift  for  character  is  of  more 
value,  in  its  ultimate  appeal  to  the  spectators,  than  the  power  of  some  writers  to  de- 
vise thrilling  but  unreal  situations.  In  Part  I  we  have  emphasized  the  value  of  study- 
ing character  and  of  presenting  in  photoplays  characters  with  whom  you  are  thoroughly 
familiar.  The  best  photoplays  are  those  in  which  the  characters  are  the  most  human, 
for  if  you  can  make  an  audience  feel  that  it  knows  and  likes  a  character,  over  half  of 
the  battle  is  won.  It  would  be  advisable  to  view  productions  of  this  type  in  order 
to  observe  how  cleverly  the  continuity  writer  has  presented  his  character  in  definite, 
dramatic,  interesting  action. 

"THE  RIGHT  OF  WAY." 

(Screen  Classics-Metro  production;  adapted  by  June  Mathis  from  the  novel  by 
Sir  Gilbert  Parker;  directed  by  Jack  Dillon;  starring  Bert  Lytell. ) 

Synopsis. 

Charles  Steele,  the  cynic,  the  drunkard,  the  brightest  lawyer  in  the  town  of 
Montreal,  by  his  eloquence  saves  the  life  of  Jo  Portugais  from  hanging  for  murder. 
He  marries  Kathleen.  Five  years  later  he  catches  his  brother-in-law  embezzling  money 
held  in  trust,  but  promises  to  save  him.  That  night  Steele  visits  one  of  his  secret 
haunts  where  he  can  drink  undisturbed.  He  is  embroiled  in  a  fight,  receives  a  blow  on 
the  head,  and  is  picked  up  by  Jo  from  the  river  and  taken  to  a  little  Canadian  town, 
experiencing  a  loss  of  memory.  A  surgeon,  visiting  the  village  takes  an  interest  in 
the  case,  performs  an  operation  and  memory  is  restored.  He  learns  that  he  has  been 
considered  dead,  and  his  wife  has  married  another,  and  that  the  brother  has  thrown 
the  blame  of  embezzlement  upon  his  shoulders.  Always  an  unbeliever,  the  kindness 
of  the  villagers  causes  a  reformation  to  take  place  in  the  heart  of  Steele.  During  a 
fete  a  number  of  strangers  visit  the  town  and  in  order  to  safeguard  the  church  money 
he  keeps  it  in  his  safe.  His  brother-in-law,  now  a  derelict,  and  two  companions  try 
to  steal  the  money,  but  are  prevented  by  Steele,  who  is  shot  by  the  brother  whom  he 
had  befriended. 

Stripped  of  its  verj'  interesting  and  universal  theme — the  inner  conflict  in  the 
soul  of  a  man  who  doubts  God — and  of  the  very  subtle  and  finished  character  delinea- 
tion of  the  star  in  the  role  of  Charley  Steele,  this  story  is  a  rather  commonplace  and 
leisurely  plot  involving  the  ancient  idea  of  loss  of  memory.  It  deals  in  an  almost 
biographical  way  with  the  hero's  life,  following  him  through  episode  after  episode 
as  the  novelist  is  privileged  to  do.  Some  of  the  episodes  are  genuinely  dramatic  and 
they  all  serve  to  emphasize  the  theme.    On  the  whole,  despite  the  hackneyed  elements 

126 


of  the  plot,  the  story  can  be  called  a  very  fine  adaptation  because,  again,  of  the  skillful 
emphasis  of  the  theme.  The  theme  is  the  one  thing  of  great  dramatic  interest  in  the 
play,  and  the  chief  character,  as  in  other  examples  we  have  considered,  is  the  personal, 
human  manifestation  of  the  theme.  In  this  way  the  story  is  given  a  unity  and  integrity 
that  it  could  not  otherwise  have  possessed. 

It  should  be  observed  that  in  this  story  we  again  find  that  subdivision  of  Situa- 
tion X,  ("Abduction"),  that  deals  with  the  rescue  of  a  soul  in  captivity  to  error. 
It  might  be  said  that  the  purpose  of  Charley  Steele's  life  experiences  is  to  show  him 
the  way  out  of  error — to  give  his  innate  idealism  the  "right  of  way"  to  a  higher  spir- 
itual plane.  His  death  in  this  story  really  signifies,  in  a  most  poignant  and  dramatic 
way,  the  beginning  of  a  new  life.  Readers  who  have  seen  the  production  will  remem- 
ber the  imhappy  ending  of  the  play  much  lunger  than  if  it  had  come  to  the  usual  ro- 
mantic conclusion.  Combined  with  the  situation  already  mentioned  are  XXI,  ("Self- 
sacrifice  for  Kindred"),  XXXI,  ("Struggle  Against  a  God"),  and  XXXIII,  ("Er- 
roneous Judgment"). 

There  is  a  very  real  dramatic  significance  also  in  the  characterization.  Steele  is 
a  cynic,  an  unbeliever,  a  drunkard,  and  yet  we  sympathize  with  him  throughout  the 
story.  Examine  the  situations  and  the  reason  for  this  sympathy  will  be  plain.  He  is 
a  big,  strong  man,  with  an  innate  though  concealed  nobility,  and  he  is  making  a  strong 
fight.  It  would  have  been  impossible  to  awaken  sympathy  for  the  character  as  he  is 
first  introduced  if  some  such  situations  had  not  been  used.  A  less  skillful  dramatist 
would  have  drawn  a  character  with  whom  we  could  not  have  sympathized  and  would 
thus  have  destroyed  the  dramatic  power  of  the  story.  As  an  example  of  unusual  and 
complicated  characterization  this  story  will  be  helpful. 

"THE  RIGHT  TO  HAPPINESS." 

(Produced  by  Universal;  starring  Dorothy  Phillips;  written  and  directed  by 
Allen  Holubar.) 

Synopsis. 

The  story  opens  in  Russia  ivith  a  Jtivish  massacre.  Sonia  and  Vivian  are  the 
twin  children  of  the  American,  Hardcastle.  They  are  safely  hidden  and  escape  harm, 
though  the  former  is  separated  from  her  sister  and  is  adopted  by  a  poor  Russian  family. 
Hardcastle  returns  to  America  with  Vivian  ivith  the  belief  that  his  other  child  is  dead. 
Twenty  years  elapse.  Vivian  is  a  popular  member  of  society,  with  no  knoivledge  of 
the  social  problem  of  the  day.  Sonia  and  her  lover,  Paul,  have  migrated  to  America 
as  the  emissaries  of  Lenine.  The  girl  has  no  idea  that  she  is  not  a  Russian.  So  she 
takes  up  her  duties  to  spread  revolution.  She  is  successful  for  a  time  until  she  appre- 
ciates the  spirit  of  democracy  abroad  in  the  land. 

Meantime  Hardcastle  has  not  kept  abreast  of  the  times.  He  is  obstinate  against 
any  solution  for  the  working  man.  And  the  drama  builds  to  an  inexorable  climax 
when  his  own  daughter,  Sonia,  leads  his  workmen  against  him.  A  shot  is  fired.  She 
is  mortally  wounded.  And  in  her  father  s  house  she  learns  her  identity.  So  Hard- 
castle's  soul  is  purified.  He  offers  his  tvorkmen  the  right  to  happiness  by  giving  them 
decent  hours  and  a  living  wage. 

There  is  a  great  deal  of  dramatic  tension  in  the  climax  of  this  story,  when  the 
Russian  girl  of  the  Bolsheviki  meets  her  own  American  father  and  threatens  him  with 
death.  The  situation  fundamentally  depends  upon  chance,  and  is  therefore  somewhat 
artificial,  but  in  a  careful  production  it  proved  effective.  The  story  is  especially  note- 
worthy, from  the  writer's  viewpoint,  because  it  involves  this  aptircach  to  Situation 
XIX,  ("Slaying  of  a  Kinsman  Unrecognized").  "Self-sacrifice  for  an  Ideal  and 
for  Kinsmen,"  (Situations  XX  and  XXI),  are  also  involved  in  the  Russian  sister's 
character.  The  theme  is  somewhat  buried  beneath  the  mechanical  tricks  of  the  climax, 
which  involves  the  chance  situation  and  the  double  exposure  of  the  two  sisters,  but 
underlying  the  action   there   is  a  very  interesting  and  timely  theme.      Its  timeliness 

127 


is  more  notable  than  its  dramatic  value,  however,  for  like  most  other  social  (as  dis- 
tinguished from  individual  and  personal)  problems,  the  theme  of  Bolshevism  is  not 
satisfactory  dramatic  material.  So  many  productions  have  recently  been  made  deal- 
ing in  one  way  or  another  with  this  idea  that  it  is  hardly  wise  for  the  photoplaywright 
to  add  to  such  stories.  It  is  far  better  to  deal  with  more  fundamental  human  prob- 
lems and  with  individuals  who  are  distinctive  and  real,  and  not  the  mere  expressions 
of  political  theory. 

In  this  case,  again,  the  time  lapse  divides  the  story  into  two  definite  parts,  a 
prologue  and  the  story  proper.  In  stories  involving  life  histories  of  the  characters, 
such  a  division  is  necessary.  But  there  is  a  great  deal  of  difference  between  dividing 
a  story  into  dramatic  parts,  and  allowing  a  story  to  ramble  leisurely,  indirectly,  and 
with  many  time  lapses. 

"THE  RIVER'S  END." 

(Marshall  Neilan  production;  starring  Lewis  Stone;  written  by  James  Oliver 
Curwood;  directed  by  Marshall  Neilan.) 

Synopsis. 

Inspector  MacDoivell  of  the  Canadian  Northivest  Mounted  Police  sends  Con- 
niston  to  capture  John  Keith,  accused  murderer  of  Judge  Kirkstone.  True  to  the  tra- 
ditions of  the  force  Conniston  folloivs  his  man  for  nearly  three  years,  finally  capturing 
him  in  the  snow  wilderness.  Conniston,  taken  ill,  is  nursed  by  his  prisoner.  There 
is  a  wonderful  resemblance  between  the  two  men.  Keith  tells  Conniston  how  Judge 
Kirkstone  and  a  gang  of  crooked  politicians  were  threatening  his  old  father  with 
prison  on  a  false  charge,  describes  how  he  went  to  the  Judge's  house,  quarreled  with 
him  in  his  son's  presence,  knocked  him  doivn  and  fled.  Later,  hearing  that  the  Judge 
had  died,  he  became  a  fugitive.  Conniston  believes  him,  knoivs  that  he  is  dying,  and 
persuades  Keith  to  return  to  MacDowell  as  the  latter's  officer.  Conniston  dies,  Keith 
takes  the  narrow  chance  and  reports  Keith's  death  to  the  inspector.  He  passes  muster, 
but  matters  are  complicated  by  the  arrival  of  the  real  Conniston's  sister,  Mary,  from 
England.  She  also  takes  him  for  Conniston.  Miriam  Kirkstone,  daughter  of  the 
dead  Judge,  is  in  the  power  of  a  Chinaman  named  Shan  Tung,  who  has  served  the 
Mounted  Force  as  an  expert  in  identifying  suspects.  Shan  Tung  sees  through  Keith's 
disguise  and  the  latter  visits  him  in  his  Oriental  den  in  the  Chinese  quarter.  Shan 
Tung  has  Miriam's  brother,  an  opium  victim,  in  his  power.  The  brother  identifies 
Keith  as  his  father's  murderer.  Shan  Tung  threatens  unless  Keith  induces  Miriam 
to  come  to  him,  he  will  expose  him.  Keith  refuses,  is  attacked,  but  kills  Shan  Tung 
and  fights  his  luay  out.  The  place  catches  fire.  Miriam's  brother  is  taken  out  dying 
and  confesses  that  he  slew  his  father.  Keith  wins  his  supposed  sister  for  his  wife 
and  MacDowell  is  united  to  Miriam. 

This  dual  role  melodrama  of  the  Northwest  is  dependent  upon  Situations 
XXXIII,  ("Erroneous  Judgment"),  IX,  ("Daring  Enterprise"),  VII,  ("Falling 
Prey  to  Cruelty  and  Disaster"),  II,  ("Deliverance"),  XXIV,  ("Remorse"),  and  a 
slight  suggestion  of  XXVI,  ("Crimes  of  Love"),  combined  with  XXXIII.  It  con- 
tains a  plethora  of  melodramatic  action  because  of  the  many  situations  and  the  in- 
volved groups  of  characters.  In  the  six  reel  length  it  is  suspensive  and  swift  in  move- 
ment, and  it  would  have  been  impossible  to  have  produced  the  story  in  the  usual  five 
reels. 

The  plot  is  quite  conventional  in  every  way,  dealing  with  the  familiar  elements 
of  dual  role  plays  and  Northwest  melodramas.  From  the  standpoint  of  structure, 
however,  the  play  is  very  well  organized,  for  it  contains  sympathetic  characterization, 
pathos,  strong  conflict,  maintained  suspense  and  a  thrilling  climax.  The  skill  with 
which  the  various  strands  of  the  plot  have  been  woven  together  is  especially  note- 
worthy. As  a  technical  example  of  a  complicated  and  well-constructed  photoplay  it 
is  of  value,  although  the  author  might  have  produced  a  much  better  story  if  he  had 
started  with  a  genuine,  instead  of  an  artificial,  theme. 

128 


"SHADOWS." 

(Produced  by  Goldwyn ;  starring  Gcraldine  Farrar ;  written  by  WiUard  Mack; 
directed  by  Reginald  Barker.) 

Synopsis. 

Muriel,  popular  in  the  social  life  of  her  city,  marries  Judson  Barnes,  a  man 
prominent  in  the  business  world.  He  is  approached  by  Frank  Craftley,  a  dishonest 
mining  promoter,  who  urges  him  to  invest  in  a  project  in  Nevada.  Muriel  feels  that 
he  is  attempting  to  sivindle  her  husband  and  advises  him  against  entering  the  deal. 
Craftley  realizes  that  it  is  the  woman  who  is  blocking  his  path  and  goes  to  his  silent 
partner,  a  man  ivho  has  traveled  the  world  over,  telling  him  that  he  believes  he 
recognizes  Muriel.  When  McGojJ ,  the  partner,  produces  a  photograph  of  Cora  La- 
mont,  an  Alaskan  dance  hall  girl,  Craftley  realizes  that  Muriel  is  the  same  woman. 
He  threatens  her  with  exposure  and  as  a  result  Aluriel  talks  to  her  husband  until  he 
has  again  changed  his  mind  about  the  mining  project.  fVith  Craftley  he  sets  out 
west  to  look  things  over. 

Now  it  is  that  Muriel  recalls  her  past  in  the  Alaskan  dance  hall  where  McGoff 
attempted  to  make  her  his  plaything.  How  she  played  the  game  safe,  always  prom- 
ising, yet  giving  nothing,  and  how  she  made  her  flight  from  her  sordid  existence  to 
the  more  civilized  south,  are  events  which  come  rapidly  to  her  mind.  Yet  if  all  this 
past  comes  out — //  her  husband  learns  of  it,  she  ivill  be  lost — moreover,  her  baby  ivill 
be  lost  to  her.  McGoff  has  signified  his  intention  of  coming  to  see  her  to  claim  her, 
and  Muriel,  making  ready  for  him,  lays  out  her  jewels  as  if  to  tempt  a  burglar. 

When  McGoff  crushes  her  in  his  arms  she  shouts  and  warns  the  household.  A 
policeman,  rushing  in,  shoots  and  kills  the  intruder.  To  him  and  to  the  rest  of  the 
household  it  appears  as  if  Muriel  had  merely  surprised  a  burglar.  Taking  her  baby 
in  her  arms,  Muriel  offers  thanks  for  her  safety. 

This  story  was  written  by  a  master  of  melodrama,  but  Mr.  Mack's  skill  failed 
to  make  real  and  convincing  the  two  fundamental  accidents  on  which  his  thrilling 
plot  is  founded.  In  the  first  place,  it  is  a  pure  coincidence  that  a  man  who  had  known 
Cora  in  her  dance-hall  days  should  meet  her  husband  and  again  come  in  contact  with 
her.  In  the  clima.x,  secondly,  it  is  largely  accidental  that  the  villain  is  killed  as  a 
result  of  her  well-laid  plan.  The  plan,  like  so  many  others,  might  easily  and  nat- 
urally have  gone  wrong.  Muriel,  or  Cora,  is  simply  lucky  enough  to  be  freed  from 
the  villain  in  this  manner.  Although  such  a  climax  might  convince  and  thrill  an 
audience  at  the  time  it  is  shown,  it  will  not  hold  up  under  careful  analysis.  It  also 
involves  the  question  as  to  whether  the  heroine  is  justified  in  killing  a  man  merely 
to  save  herself  from  disgrace.  The  finer  and  nobler  thing  would  have  been  to  confess 
to  her  husband  her  whole  past. 

The  plot  involves  Situation  XII,  ("Obtaining"),  III,  ("Crime  Pursued  by 
Vengeance"),  and  a  suggestion  of  XXVII,  ("Discovery  of  the  Dishonor  of  a  Loved 
One"),  combined  with  VI,  ("Disaster"),  and  in  the  end,  XXXIII,  ("Erroneous 
Judgment"). 

To  the  student  the  story  is  significant  especially  because  it  necessitates  an  un- 
dramatic  retrospect  in  the  Alaskan  episode.  In  almost  every  case,  a  straightforward 
and  direct  story  will  be  more  dramatic,  and  the  use  of  such  a  retrospect  is  cither  a 
confession  of  the  lack  of  skill  or  a  trick  for  manufacturing  a  certain  kind  of  suspense. 
In  this  story  it  is  obviously  the  latter,  and  it  achieves  its  melodramatic  purpose.  But 
retrospect  should  almost  invariably  be  avoided,  for  the  stories  that  require  such  tricks 
are  not  usually  suitable  for  screen  production. 

"SHE  HIRED  A  HUSBAND." 
(Produced  by  Universal;  starring  Priscilla  Dean;  written  by  Rex  Taylor;  di- 
rected by  Jack  Dillon.) 

129 


Synopsis. 

Daphne  Troiibridge  is  a  most  perverse  young  person  who  worries  her  aunt  and 
unch'  from  morning  until  night  by  constantly  going  contrary  to  their  wishes.  In 
time  they  are  unable  to  bear  it  longer  and  decide  to  marry  her  off  to — Tom  Dunstnn, 
a  young  man  ivho  lives  on  the  estate  next  door.  They  sing  his  praises  to  Daphne,  and 
she,  perverse  as  usual,  turns  him  down  when  he  proposes.  Tom  departs  quite  broken 
up  about  it.  The  next  suitor  the  Trowbridges  select  for  their  niece  they  speak  of  in 
no  kind  terms,  and  their  plan  works  for  a  while,  for  Daphne  accepts  his  proposal. 
However,  she  discovers  the  trick  just  before  the  wedding  and  refuses  to  partake.  De- 
termined that  they  shall  see  her  secure  a  husband  for  herself,  she  goes  out  in  search 
of  one  and  picks  a  heavily-bearded  stranger  she  meets  at  the  station.  They  are  mar- 
ried ivith  the  understanding  that  it  is  to  be  a  "name  only"  contract. 

At  home  the  "stranger"  removes  his  beard  and  proves  to  be  Tom,  and  he,  wise 
felloiu,  decides  to  cure  Daphne.  She  does  not  recognize  him  as  the  man  she  married, 
so  Tom  paints  her  husband  in  an  array  of  horrible  colors.  Tom  then  disappears  to 
the  north  woods  again  to  look  into  his  lumber  interests,  and  later  returns  as  the 
"stranger."  This  time  he  kidnaps  Daphne  and  takes  her  off  to  the  wooded  wilds 
irhere  he  proceeds  to  practice  the  tactics  of  the  caveman  upon  her.  Eventually  she 
becomes  a  dutiful  wife.  She  is  again  kidnapped  by  Tom's  enemies,  and  after  a  fierce 
fight  he  rescues  her.  An  old  scar  on  his  shoulder  reveals  his  identity  to  Daphne,  and 
she  is  more  than  happy  to  discover  that  her  husband  and  the  man  she  really  loved 
all  the  luhile  are  one  and  the  same. 

This  comedy  drama  is  useful  as  an  example  of  the  conventional  use  of  Situntions 
X  and  XXVIII,  ("Abduction")  and  ("Obstacles  to  Love").  It  also  involves  a 
very  timevvorn  phase  of  Situation  XXXIII,  ("Erroneous  Judgment"),  in  the  use 
of  disguise.  Disguise  is  seldom  plausible  in  comedy,  and  its  use  in  comedy  drama  or 
straight  drama  should  be  carefully  avoided.  In  the  final  incident  of  the  story^the 
revelation  of  Tom's  identity  to  Daphne  by  means  of  a  scar  on  his  shoulder — we  find 
a  close  approach  to  the  familiar  use  of  a  birthmark  as  a  means  of  identification.  Birth- 
marks have  been  used  so  often  in  this  manner  that  it  is  doubtful  if  any  story  involving 
them  will  ever  again  achieve  production.  In  the  same  category  is  the  identification 
of  a  character  by  means  of  a  locket  or  other  article  of  jewelry.  Both  of  these  plot 
devices  have  been  exhausted. 

The  plot  of  this  comedy  drama  is  rather  implausible  in  its  verj-  foundation,  but 
it  provides  clean,  wholesome  amusement.  It  is  here  used  as  an  example  because  of 
the  trick  of  identification,  which  appears  frequently  in  the  work  of  amateurs. 

"THE  SILENT  RIDER." 

(Produced  by  Triangle;  starring  Roy  Stewart;  story  by  C.  M.  Clark;  directed 
by  Cliff  Smith.) 

Synopsis. 

Driven  desperate  by  cattle  rustlers,  Jim  Carson,  owner  of  the  Ten  Mile  Ranch, 
appeals  to  the  Texas  Rangers  for  aid.  A  reply  to  him  states  that  a  man  will  arrive 
in  a  week  to  clean  out  the  rustlers. 

Shortly  afterwards  Carson  employs  Bob  Gordon  as  a  puncher.  A  strong  dislike 
springs  up  between  Gordon  and  Dave  Merrill,  Jim  Carson's  foreman.  Jim's  daugh- 
ter, Jean,  and  Bob  arc  mutually  pleased  with  each  other. 

A  iveek  later  Gordon  discovers  Merrill  branding  a  calf  and  exchanges  shots  with 
him,  although  he  does  not  get  an  opportunity  to  see  Merrill's  face.  He  finds  the 
latter's  hat  with  the  initials  "D.  M."  in  it.  Gordon  returns  Merrill's  hat  to  him 
in  the  presence  of  Jean  and  Carson.  Merrill  pretends  that  the  hat  was  stolen  from 
him  as  a  trick  by  some  of  the  punchers.  Shortly  afterwards,  Merrill,  in  conjunction 
with  some  of  the  other  coivboys  on  the  ranch,  attempts  to  frame  up  Bob  on  a  charge 

130 


of  cattle  rustling.  The  tables  are  turned  on  him  and  a  gun  battle  results.  Merrill 
seizes  Jean  and  dashes  aiuay  trilh  her  and  his  outlaw  pals  to  a  lonely  cabin.  There 
Jean  is  forced  to  fight  for  her  honor  luiih  Merrill  until  rescued  by  Gordon  and  his 
pals. 

This  story  is  a  typical  Western  melodrama,  of  the  kind  that  has  been  produced 
in  large  numbers.  It  depends,  fundamentally,  upon  Situation  IX,  ("Daring  Enter- 
prise"), and  X,  ("Abduction").  XXXIII,  ("Erroneous  Judgment"),  also  appears, 
as  in  most  stories  with  surprise  endings.  Both  in  plot  material  and  treatment  the 
story  bears  a  close  resemblance  to  many  others  of  the  same  type.  Its  value  lies  in  the 
swift,  thrilling  action,  which  makes  a  direct  and  dramatic  appeal  to  most  spectators. 

The  use  of  abduction  in  this  case  is  so  very  trite  that  it  affords  a  good  example  of 
how  that  situation  should  not  be  used.  At  one  time  no  Western  melodrama  was  com- 
plete without  at  least  one  abduction,  but  the  art  of  photoplay  writing  has  advanced 
since  then  and  even  two-reel  Western  thrillers  must  be  more  novel  and  distinctive 
than  this  story.  The  West,  like  Alaska  and  the  Canadian  Northwest,  has  been  very 
thoroughly  exploited  as  a  motion  picture  background,  and  unless  one  can  bring  new 
experience  and  new  ideas  to  this  type  of  play  it  should  not  be  undertaken. 

"SINNERS." 

(Realart  production;  story  by  Owen  Davis;  directed  by  Kenneth  Webb;  sce- 
nario by  Eve  Unsell ;  starring  Alice  Brady.) 

Synopsis. 

Alary  Horton,  born  and  raised  on  Nantucket,  goes  to  New  York  to  earn  her 
living.  In  the  city  she  meets  a  iroman  from  her  own  village  who  is  known  to  have 
"gone  wrong."  She  offers  Mary  help  and  as  the  girl  is  actually  in  need  she  accepts 
her  assistance  and  takes  up  her  abode  in  the  woman's  house  while  doing  some  sewing. 
She  meets  Hilda's  friends  and  envies  them  their  carefree  existence.  Bob  Alerrick  be- 
comes interested  in  Mary  and  understands  that  she  is  different.  Mary,  however,  has 
about  decided  that  she,  too,  wants  the  lively  things  of  life  when  Horace  Worth,  her 
one-time  siveetheart,  arrives  to  tell  her  her  mother  is  dying.  Seeing  the  way  Mary  has 
been  living  he  condemns  her  as  one  of  Hilda's  sort.  Back  home  with  mother,  Mary 
again  takes  up  the  simple  life,  but  one  Sunday  Hilda  motors  down  with  a  party. 
Under  the  sweet  influence  of  Mary's  mother  the  city  "rotters'"  are  compelled  to 
spend  an  odd  day  in  singing  hymns  and  drinking  well  water.  Horace  appears  upon 
the  scene  to  condemn  Alary  and  her  friends,  but  Bob  Alerrick  admits  he  desires  Alary 
for  his  wife.  Hilda  also  decides  to  remain  in  the  village  and  do  hospital  work.  The 
rest  of  the  party  goes  back  to  town  somewhat  chastened. 

This  story,  in  some  respects  similar  to  "The  Miracle  Man,"  is  a  study  in  con- 
trasts. The  contrast  between  the  two  groups  of  characters  is  less  sharp  and  clear  than 
in  the  Tucker  production,  and  is  therefore  somewhat  less  poignant  and  dramatic. 
This  is  due  to  the  fact  that  there  are  two  intermediate  characters,  who  link  the  group 
of  the  city  with  the  simple  lady  of  the  countr>\  A  greater  conflict  would  have  re- 
sulted from  the  other  construction ;  but  the  present  play  has  the  advantage  of  portray- 
ing a  wholly  sympathetic  character  placed  in  a  suspensive  predicament  between  two 
factions.  Again,  the  story  develops  from  character  and  the  genuine  drama  springs 
directly  from  the  conflict  of  character. 

The  interesting  sub-division  of  Situation  X,  ("Rescue  of  a  Soul  in  Captivity  to 
Error"),  again  appears,  and  with  it  are  combined  Situations  VII,  XXXIII,  and 
XXXIV.  Stories  based  upon  vital  and  significant  themes,  dealing  with  human  con- 
flicts and  with  characters  who  are  real  and  understandable,  are  usually  simple  in 
plot  structure.  In  this  play,  for  example,  and  in  "The  Miracle  Man",  the  greatest 
degree  of  suspense  is  attained  by  the  characterization.  The  dramatic  value— the  con- 
flict, suspense  and  punch — of  the  play   results  directly  from  character,   rather  than 

131 


from  plot  manipulation.  In  addition,  of  course,  sound  craftsmanship  must  be  applied 
to  the  construction  of  the  story,  but  so  far  as  the  finished  photoplay  is  concerned 
the  action  all  appears  to  spring  quite  naturally  from  the  reactions  of  the  characters. 
This  is  the  ideal  to  be  striven  for,  and  the  writer  who  concentrates  as  much  upon 
theme  and  character  as  upon  plot  will  come  close  to  it. 

"THE  SIX  BEST  CELLARS." 

(Paramount-Artcraft  production;  starring  Bryant  Washburn;  story  by  Hol- 
worthy  Hall  and  Hugh  Kahler;  directed  by  Donald  Crisp;  scenario  by  Elmer  Harris.) 

Synopsis. 

Henry  Carpenter  and  his  ivife,  Millicent,  belong  to  an  exclusive  suburban  set. 
Henry  is  supposed  to  have  a  cellar  full  of  drinkables  against  the  drought  of  prohibition, 
hut  is  in  reality  doicn  to  his  last  few  bottles.  'Henry  and  Millicent  give  a  dinner 
and  Henry  is  overjoyed  to  find  in  the  cellar  of  his  liquor-hating  aunt  several  cases  of 
rare  wines  left  by  a  brother,  since  deceased.  At  the  last  minute,  however,  Henry  dis- 
covers that  the  bottles  are  empty.  Fearful  of  facing  his  guests  he  produces  some 
"home-brew"  and  then  launches  into  a  terrific  speech  against  "drinking  for  drinking's 
sake."  His  fervor  impresses  his  friends  and  the  Prohibition  element  in  the  town  offers 
to  elect  him  to  Congress.  Then  Henry  finds  a  real  case  of  rare  xvine  in  his  aunt's 
cellar.  The  question  is,  to  be  a  Congressman  or  not  to  bel  On  the  one  hand  he  may 
have  social  triumphs,  and  on  the  other,  possibly  a  great  political  career.  Henry's 
efforts  to  decide  result  in  a  merry  set  of  complications — and  the  end  of  the  picture 
is  left  for  the  audience  to  decide. 

Since  the  enactment  of  the  prohibition  legislation  there  have  been  many  stories 
submitted  to  the  studios  dealing  in  a  comedic  way  with  the  aftermath  of  John  Barley- 
corn's demise.  Innumerable  short  comedies  have  been  produced  and  several  five- 
reel  comedy  dramas.  The  subject  no  longer  possesses  the  timeliness  of  appeal  it  did 
and  is  not  likely  to  remain  popular  very  long.  This  story  is  interesting  as  a  very 
clever  satire  upon  the  problems  of  the  drouth  and  of  methods  used  to  circumvent  it. 

The  story  opens  with  a  comedic  use  of  Situation  VII  ("Falling  Prey  to  Cruelty 
and  Misfortune"),  and  then  involves  XXXIII  ("Erroneous  Judgment"),  XXX, 
("Ambition"),  and  XXII,  ("All  Sacrificed  for  a  Passion"),  as  well  as  XII  ("Ob- 
taining"). 

The  use  of  recoil  in  the  sudden  plot  twist  that  presents  the  clear  predicament  to 
Henry  is  especially  clever — to  be  a  Congressman  or  not  to  bel  The  same  use  of 
recoil  is  found  in  most  effective  short  comedies  and  it  is  always  efiective  when  founded 
upon  a  natural  and  humorous  conflict. 

The  satirical  note  in  the  idea  that  the  social  status  of  the  hero  is  determined  by 
his  possession  of  liquor  is  maintained  throughout  the  play,  and  it  gives  the  plot  a  unity 
of  dramatic  purpose  that  it  would  otherwise  have  lost. 

Although  the  subject  would  seem  to  be  exhausted  by  too  frequent  use  "The  Six 
Best  Cellars"  (which  is  an  excellent  comedy  title,  by  the  way)  serves  as  a  very  good 
example  of  the  comedic  treatment  of  a  timely  subject. 

"SMOULDERING  EMBERS." 

(Keenan-Pathe  production;  starring  Frank  Keenan;  written  by  Kate  Corbaley; 
scenario  by  Dorothy  Yost;  directed  by  Frank  Keenan.) 

Synopsis. 

Old  John  Conroy,  a  vagabond  since  his  wife  left  him  for  dead  and  ran  away 
with  his  baby  son  and  another  man,  has  two  aims  in  life — to  find  his  son,  and  to  buy 
an  apple  orchard.  He  enters  the  tou'n  of  Poriersburg  as  a  tramp  and  there  he  finds 
his  son  about  to  be  forced  into  marriage  with  a  girl  he  does  not  love  in  order  to  further 

132 


his  step-father's  ambitions.  The  boy  has  been  spoiled  by  too  much  money  and  l09 
little  thought,  and  old  John  resolves  to  make  a  man  of  him  for  the  girl  uho  loves 
nim.  He  wins  the  boy's  love  and  starts  the  work  of  regeneration,  at  the  tame  time 
gaining  control  of  the  step-father's  factory  and  acquiring  knowledge  of  his  political 
trickery.  In  this  way  he  triumphs  over  the  boy's  step-father,  wins  a  son,  unites  the 
lovers,  and  provides  for  their  happy  future. 

This  story  is  a  simple,  human  character  study,  well  suited  to  the  personality  of 
the  star  and  with  a  sufficiently  dramatic  plot  to  hold  the  interest  as  the  character  un- 
folds. As  an  example  of  advanced  characterization,  in  which  Mrs.  Corbaley  is  espe- 
cially skillful,  it  is  of  unusual  value,  for  it  shows  how  subtle  and  quiet  emotional  con- 
flicts can  be  dramatized  for  the  screen. 

Many  writers,  in  developing  the  same  plot,  would  have  introduced  a  prologue 
showing  the  elopement  of  the  wife  with  the  other  man,  but  in  this  unified  story  all 
that  the  audience  needs  to  know  of  the  preceding  action  is  conveyed  directly  in  one 
or  two  subtitles. 

The  situations  that  occur  in  the  play  are  II,  ("Deliverance"),  XXXV,  ("Re- 
covery of  a  Lost  One"),  XXIV,  ("Rivalry  of  Superior  and  Inferior"),  and  a  slight 
form  of  XXVII,  ("Discovery  of  the  Dishonor  of  a  Loved  One"). 

In  this  example  it  is  not  the  dramatic  strength  of  the  plot  or  the  novelty  of  the 
development  that  gives  the  play  its  charm  and  value.  Rather,  it  is  the  human  power 
and  poignance  of  the  characterization.  Every  detail  of  action  in  the  play  springs  as 
a  natural  result  of  the  character  of  John  Conroy  entering  Portersburg  and  finding  his 
son.  Given  the  characters  and  the  fundamental  conditions,  the  plot  is  the  natural 
result.  Consequently  it  is  lifelike,  convincing  and  real,  and  it  has  a  deep  significance 
for  the  average  spectator  because  it  presents  a  noble  old  man — out  of  Life's  scrap  bag 
— moved  by  a  deep  affection  for  his  only  son. 

Despite  the  simplicity  and  restraint  of  the  play,  it  will  be  seen  that  it  is  truly 
dramatic.  A  definite  dramatic  objective  is  gained  by  John  Conroy,  and  when  the 
story  ends,  his  life,  his  son's  life,  and  the  life  of  the  man  who  won  his  wife  are  defi- 
nitely and  dramatically  changed.  And  there  can  be  nothing  more  dramatic  than  the 
presentation  of  characters  in  the  process  of  growth. 

"THE  SQUAW  MAN." 

(Produced  by  Artcraf  t ;  all-star  cast;  from  the  play  by  Edwin  Milton  Royle; 
scenario  by  Beulah  Marie  Dix;  directed  by  Cecil  B.  DeMille.) 

Synopsis. 

Jim  Wynnegate  loves  Diana  Kerhill,  wife  of  his  cousin,  Henry,  Earl  of  Kerhill. 
Henry  embezzles  money  entrusted  to  his  care  by  the  orphanage  and  in  order  to  pro- 
tect Dianas  name,  Jim  shoulders  the  blame  and  disappears.  He  locates  in  a  Wyoming 
coiv-town,  where  he  engages  in  ranching.  Jim  saves  Naturich,  an  Indian  girl,  from 
Cash  Hawkins  and  so  incurs  his  enmity.  Hawkins  later  attacks  Jim  just  as  Diana. 
Henry  and  a  party  arrive  in  the  town  while  touring  the  States.  Sir  John  Applegate, 
a  member  of  the  party,  denounces  Jim,  but  Diana  finds  time  to  say  to  him  that  she 
believes  him  innocent.  Hawkins  makes  another  attempt  on  Jim's  life,  but  Naturich 
kills  him.  The  sheriff  would  arrest  Jim  for  the  crime,  but  Big  Bill  proves  that  he 
couldn't  have  been  guilty,  by  circumstantial  evidence. 

While  hunting  stray  cattle  Jim  is  thrown  from  his  horse  and  is  found  by  Natu- 
rich. She  nurses  him  back  to  health  and  the  intimacy  that  this  situation  brings  finally 
results  in  a  marriage.  Thus  does  Jim  become  a  squaw  man.  In  time,  little  Hal  is 
born  to  Naturich  and  he  proves  to  be  the  idol  of  Jim's  ranch.  But  things  don  t  f 
well  with  the  squaw  man.  His  cattle  stray  and  are  stolen  and  the  sheriff  is  ever 
attempting  to  prove  that  he  murdered  Hawkins. 

133 


Then  Henry  is  mortally  uounded  ivhile  hunting  big  game  and  before  he  dies  he 
tells  the  truth  of  the  embezzled  money.  Diana  and  Sir  John  visit  Jim  again  and  tell 
him  that  he  must  return  to  England  to  look  after  his  estates.  Henry  insists  that  little 
Hal  go,  too,  and  Naturich,  seeing  the  man  she  loves  and  her  boy  slip  from  her  grasp, 
takes  her  life.  Jim  is  deeply  sorroived  at  this,  but  leaves  the  West  and  after  a  few 
years  marries  Diana. 

This  story  opens  with  a  very  effective  use  of  Situation  XXI,  ("Self-sacrifice  for 
Kindred"),  with  which  is  combined  XXVIII,  ("Obstacles  to  Love").  The 
XXVIIIth  situation  is  again  repeated  in  the  major  theme  of  the  storjs  in  the  marriage 
between  Jim  and  Naturich.  Situation  XXXIV,  ("Remorse")  is  also  used  in  the  dying 
confession  of  the  villain.  This  dying  confession  and  the  contrast  between  the  wicked 
and  noble  cousins  are  both  very  timeworn,  and  if  this  had  been  a  recent  play  rather 
than  an  adaptation  from  a  success  of  a  decade  ago,  would  constitute  a  serious  objec- 
tion to  it.  In  Naturich's  sacrifice  of  her  little  son  we  have  a  very  fine  and  poignant 
use  of  Situation  XXIII,  ("Necessity  of  Sacrificing  Loved  Ones"). 

The  story  is  of  value  as  an  example  because  it  deals  with  one  phase  of  Indian 
life.  Many  writers  attempt  to  write  Indian  stories,  and  some  very  good  ones  are 
occasionally  submitted.  But  from  the  selling  standpoint  it  is  a  bad  subject  to  select, 
for  it  has  been  pretty  thoroughly  exhausted  in  the  past.  In  the  early  days  of  the  in- 
dustry* the  one  chief  subject  of  photoplays  was  that  of  Indian  life.  As  a  result  there 
is  no  longer  any  demand  for  stories  of  this  type,  and  the  writer  should  avoid  the 
theme  if  he  wishes  to  sell  his  work. 

"THE  STREAM  OF  LIFE." 

(Produced  by  Epic  Pictures  Corporation;  scenario  by  James  K.  Shields;  directed 
by  Horace  G.  Plimpton.) 

Synopsis. 

"The  Stream  of  Life"  opens  with  scenes  about  a  country  town,  where  the  ideal 
home  life  of  an  American  farmer's  family  is  depicted.  Brought  up  in  these  siinple, 
homely  surroundings,  the  son  of  the  family,  when  he  attains  young  manhood,  yearns 
for  the  larger  opportunities  of  the  city  and  sets  out  for  the  metropolis.  From  a  be- 
ginning of  six  dollars  a  week,  by  honest  effort  he  makes  his  way  to  the  top  of  the 
ladder,  and  twenty  years  later  we  find  him  holding  a  partnership  in  a  prosperous 
firm.  His  mother  visits  him  and  is  shocked  to  learn  that  he  has  neglected  his  religious 
teachings,  has  become  almost  an  unbeliever.  And  when  his  young  daughter  dies, 
Maynard  scorns  the  consolation  his  mother  offers  him  from  the  religion  he  had  been 
brought  up  to  practice.  The  loss  of  the  child  embitters  Maynard  and  his  life  is  an 
unhappy  one  until  his  wife  by  chance  visits  a  church  and  from  the  Christian  worship 
and  doctrines  gets  so  much  comfort  that  she  leads  him  back  to  his  church  and  his 
God.  And  when  his  time  arrives  to  depart  this  world  he  bravely,  confidently  awaits 
the  final  summons. 

This  story  is  of  special  interest  because  it  is  one  of  the  first  definitely  religious 
productions,  made  for  showing  in  churches  and  as  a  part  of  religious  work.  Many 
photoplaywrights  are  turning  to  this  type  of  play,  and  in  the  recent  past  several  large 
companies  have  been  organized  for  the  purpose  of  making  such  pictures.  The  time 
will  probably  come  when  photoplays  pointing  a  strong  moral  and  interpreting  in  mod- 
ern settings  the  teachings  of  the  Bible  will  be  used  in  religious  services.  This  field  of 
photoplay  writing  is  still  so  new  that  it  is  impossible  to  say  to  what_  extent  it  will 
develop,  but  it  is  safe  to  prophesy  that  most  of  the  pictures  will  be  of  this  general  type. 

Many  writers  who  are  interested  in  religious  photoplays  seem  to  think  that  it 
is  only  necessary  to  adapt  a  Biblical  story  and  to  submit  a  synopsis  of  its  screenable 
action.  But  there  is  no  need  for  the  creative  writer  to  construct  such  synopses.  If 
the  religious  film  organizations  desire  to  picturize  the  Bible  stories  they  need  only  to 

134 


hire  a  continuity  writer  and  a  director  to  adapt  the  story  directly  from  the  Bible. 
It  is  more  likely,  however,  that  these  organizations  will  produce  modern  stories  of 
real  life  that  emphasize  a  strong  moral. 

"The  Stream  of  Life"  is  not  fundamentally  dramatic,  and  the  moral  is  stressed 
rather  than  the  dramatic  structure  or  the  emotional  effect.  As  the  work  develops  it  is 
probable  that  greater  care  will  be  devoted  to  the  choice  of  stories  and  to  their  dra- 
matic structure,  for  even  a  sermon  can  be  made  more  effective  if  it  is  presented  in  a 
way  that  will  make  an  emotional  appeal.  In  this  case  Situations  XXXI  ("Struggle 
Against  a  God"),  XXXVI,  ("Loss  of  Loved  Ones"),  and  XXXIV,  ("Remorse"), 
underly  the  plot. 

The  story  should  be  carefully  considered  as  an  example  of  the  kind  of  photoplays 
likely  to  be  produced  by  the  religious  film  companies  now  engaged  in  production. 

"STRONGER  THAN  DEATH." 

(Metro  production;  starring  Nazimova;  from  the  nova!,  "The  Hermit  Doctor 
of  Guya,"  by  I.  A.  R.  Wylie;  scenario  by  Charles  Bryant;  directed  by  Herbert  Blache.) 

Synopsis. 

Though  Sigr'td  Fersen  loves  Major  Tristam  Boucicault,  of  the  English  Army 
in  India,  he  is  not  the  man  she  hail  in  mind  ivhen  coming  to  India.  Her  health  is 
such  that  she  may  never  dance  again  without  imperiling  her  life,  so  the  stage  is  no 
longer  possible  as  a  means  of  livelihood.  Tristam  is  poor.  Fate  seems  to  decide  the 
issue  for  her  ivhen  Tristam  strikes  his  brutal  father,  a  Colonel.  The  act  is  wit- 
nessed by  James  Barclay,  a  ivealthy  half-breed.  His  silence  is  purchased  by  Sigrid's 
promise  to  marry  him,  but  in  name  only.  But  in  a  drunken  state  he  speaks,  thus 
breaking  ike  contract.  In  revenge  he  incites  the  natives  to  mutiny  and  a  massacre  is 
averted  only  by  Sigrid,  tvho,  though  knowing  that  to  dance  might  prove  fatal,  holds 
the  attention  by  her  dancing  and  delays  the  rebellion.  She  recovers  from  her  exhaus- 
tion under  the  tender  ministrations  of  Tristam. 

This  story  is  a  notable  example,  so  far  as  its  plot  is  concerned,  because  it  pre- 
sents the  time-worn  idea  of  a  dancer  whose  health  is  such  that  she  is  in  danger  of 
death  if  she  dances  once  again,  and  also  because  it  involves  the  equally  trite  idea  of 
"a  marriage  in  name  only"  forced  upon  the  heroine  on  threat  of  exposure.  Both  of 
these  plot  elements,  however,  have  the  quality  of  giving  the  central  character  a  great 
deal  of  sympathy  and  of  making  her  noble.  Perhaps  because  they  produce  this  desir- 
able result  they  have  been  very  much  overdone  in  the  past.  The  story  is  of  the  seven 
reel  length  and  is  rich  in  situations. 

It  opens  again  with  VII,  ("Falling  Prey  to  Cruelty  and  Misfortune"),  for  the 
heroine  is  penniless  and  in  danger  of  death,  then  goes  on  to  XXIV  ("Rivalry  of  Su- 
perior and  Inferior")  in  the  conflict  between  the  men  for  the  heroine,  then  involves 
XIII,  ("Enmity  of  Kinsmen")  in  the  conflict  between  father  and  son,  HI  ("Venge- 
ance"), and  in  the  climax,  "XXI,  ("Self-sacrifice  for  Kindred  or  Loved  Ones"). 
Other  situations  enter  into  the  play  in  a  lesser  degree,  but  these  form  the  basis  of  the 
plot  structure.    The  use  of  VIII,  ("Revolt"),  however,  should  be  noted. 

The  fact  that  Sigrid  recovers  from  her  supposedly  fatal  dance  is  not  logically  in 
keeping  with  the  rest  of  the  story,  for  the  audience  has  been  led  to  believe  that  it 
will  in  reality  be  her  last  dance  and  that  it  will  mean  her  death.  In  a  story  of  this 
kind,  in  which  the  unhappy  ending  is  the  logical  one,  it  should  be  employed.  There 
can  be  no  question  at  all  but  that  the  public  appreciates  plot  logic  even  if  stories 
progress  to  tragic  endings.  The  author  should  endeavor  always  to  work  out  his  play 
to  its  logical  and  dramatic  conclusion.  In  "Stronger  Than  Death"  there  was  an  op- 
portunity for  a  very  beautiful  though  unhappy  ending,  and  in  all  probability  that 
ending  would  have  made  a  more  dramatic  impression  upon  the  spectator  than  the  one 
used.    The  additional  touch  of  poignance,  and  the  lurking  suggestion  that  Love  does 

135 


indeed  conquer  all  things,  even  Death,  would  have  given  the  spectator  a  still  finer  ap- 
preciation of  Sigrid's  nobility. 

Ordinarily  stories  of  exotic  locales,  such  as  India,  are  too  expensive  to  be  readily 
salable.  But  Nazimova's  flame-like  personality  requires  vehicles  of  unusual  color 
and  glamour.  In  this  case  the  story  is  colorful,  dramatic  and  it  affords  the  star  won- 
derful acting  chances ;  its  lack  of  novelty  is  of  course  a  great  weakness  and  only  par- 
tially balanced  by  the  other  factors. 

"SUE  OF  THE  SOUTH." 

(Produced  by  Bluebird;  starring  Edith  Roberts;  story  suggested  by  Maude 
Reeves  White;  written  by  C.  J.  Wilson,  Jr. ;  directed  by  Eugene  Moore.) 

Synopsis. 

Sue  Gordon  was  an  aristocrat.  Born  to  all  the  purple  that  Crawford,  Tennes- 
see, ever  laid  claim  to.  Still  her  pet  was  a  piggie  and  her  playmate  was  Shad  Peters 
— poor  white  trash.  Now,  the  Peters  and  the  Peytons  only  spoke  through  the  barrels 
of  their  rifles  and  that  from  behind  ambuscades  and  cabin  walls.  For  Shad's  "Pop" 
had  been  killed  by  a  Peyton,  and  the  mountain  code  would  not  allow  Shad  to  have 
any  other  ambition  in  life  than  to  be  revenged  on  his  father's  slayer.  So  it  had  been 
in  the  mountains  for  generations. 

Shad  would  have  dearly  loved  to  go  to  Nashville  to  get  an  "eddication" ,  but  he 
durst  not.  The  rest  of  the  Peters  would  think  him  a  coivard.  Then  fate  took  a 
hand.  Sue  went  to  the  city  to  live  with  Uncle  John  Peyton,  as  hard  a  man  as  ever 
lived.     Even  his  own  son  was  against  him  in  his  relations  with  his  men. 

Sue  brought  her  piggie  along  to  toivn  and  she  also  brought  the  first  ray  of  real 
joy  into  this  frosty  household.  But  when  she  ivas  called  to  account  for  her  interest 
in  Shad,  who  was  "just  one  of  those  Peters,  tvith  whom  no  Peyton  could  have  any 
kind  of  relations  at  all,"  Sue  fled  to  her  beloved  hills  and  to  Shad's  cabin.  Only  then 
did  John  Peyton  realize  that  his  one  enjoyment  in  life  was  slipping  aivay  from  him. 
So  the  old  man  and  his  son  pursued.  When  they  came  to  the  Peters'  shack,  flames 
were  spitting  from  a  rifle  and,  upon  establishing  a  truce,  the  old  man  found  that  the 
undaunted  defender  was  none  other  than  little  Sue,  while  Shad  lay,  white  but  de- 
termined, at  her  feet  with  a  bullet  in  his  shoulder.  It  took  a  lot  of  oratory  to  straighten 
things  out  in  the  feud-cursed  country,  but  it  all  came  out  right  in  the  end. 

This  story  is  a  typical  example  of  the  "feud"  play,  which  is  one  of  the  most 
familiar  forms  of  dramatic  entertainment.  It  is  based  almost  entirely  upon  Situation 
XXIX,  ("An  Enemy  Loved"),  and  upon  the  contrast  of  character  between  Sue  and 
her  uncle.  The  story  is  quite  lacking  in  distinction  and  novelty,  and  its  entire  enter- 
tainment value  depends  upon  the  characterization  of  Sue.  But  the  veiy  theme  of 
the  story — the  young  girl  who  brings  sunshine  and  gladness  to  the  home  of  a  mean 
old  man — has  been  developed  so  very  often  in  much  the  same  way  that  it  is  doubtful 
if  any  editor  will  again  consider  such  a  story  favorably.  Like  Alaska  and  the  West, 
the  feud  districts  of  the  South  have  been  exploited  almost  to  exhaustion  and  the  writer 
who  can  bring  no  new  experience  to  the  familiar  plot  material  should  not  attempt 
this  type  of  story. 

"THE  TEETH  OF  THE  TIGER." 

(Paramount-Artcraft  production;  story  by  Maurice  LeBlanc;  scenario  by  Roy 
Somerville;  directed  by  Chet  Withey.) 

Synopsis. 

To  the  world  Arsene  Lupin,  the  notorious  French  crook,  is  dead.  In  reality  as 
Paul  Sernine  he  is  living  in  the  suburbs  of  an  American  city.  Henry  Forbes,  an  in- 
valid,  in   charge   of  a  Doctor   Varncy,  and  a  friend   of  Paul's,   is  found  murdered. 

136 


Marie  Forbes,  tvife  of  the  dead  man,  is  accused  of  his  murder,  as  is  Gordon  Savage, 
who  is  a  close  hut  innocent  friend  of  Marie's.  A  French  detective  named  Jabot  ar- 
rives and  recognizes  Paul  as  Lupin.  With  difficulty  Paul  escapes  the  clutches  of  Jabot 
and  the  detectives.  Gordon  escapes  and  swears  his  innocence  to  Paul,  who  believes 
him  and  offers  to  help  him.  A  trap  is  arranged  at  the  lawyer's  office  to  arrest  the 
one  who  comes  to  claim  a  share  of  the  Forbes  will.  Lupin  arrives  and  is  arrested. 
The  real  criminal.  Doctor  Varney,  suspecting  a  trap,  has  sent  Florence  Chandler,  his 
ward,  to  prove  that  she  is  Forbes'  dead  sister's  child.  She  also  is  arrested  but  Lupin 
aids  her  in  escaping.  After  many  exciting  incidents  Lupin  corners  Doctor  Varney 
and  makes  him  confess  to  the  murder  of  Forbes,  after  Varney  has  attempted  to  blow 
up  the  Forbes  house  and  everybody  in  it  with  an  infernal  machine.  Alarie  is  released 
and  Doctor  Varney's  ward  and  Lupin  find  that  their  mutual  worries  and  exciting  ex- 
periences have  made  them  love  each  other. 

It  would  be  difficult  to  find  a  better  example  of  a  well-sustained  mystery  story 
than  this  play  adapted  from  the  well-known  French  detective  stories.  Mystery  plays, 
like  serials,  require  very  skillful  and  adroit  construction,  for  if  a  certain  clue  is  to« 
heavily  stressed  the  mystery  will  be  lost.  On  the  other  hand,  if  a  slight  suggestion 
of  the  ultimate  explanation  of  the  story  is  not  "planted"  rather  early  in  the  action  the 
audience  will  feel  that  it  has  been  tricked  and  will  be  disappointed  at  the  ending. 
The  construction  of  such  plays  is  always  artificial,  for  the  mystery  invariably  depends 
upon  the  ability  to  withhold  a  certain  bit  of  evidence  from  the  audience  and  then  to 
reveal  it  in  a  plausible  way  at  just  the  right  time.  It  is  indeed  a  difficult  thing  to  make 
the  audience  believe  in  the  reality  of  an  artificial  play,  and  many  times  photoplay- 
wrights  have  failed  to  accomplish  this  purpose.  The  screen  does  not  afford  the  same 
opportunity  to  the  writer  of  covering  up  holes  and  weaknesses  in  a  plot  that  the  short 
story  or  novel  form  does,  and  many  adaptations  of  mystery  tales  from  these  other 
mediums  have  been  far  from  mysterious. 

The  basic  situations  of  the  play  are  "Erroneous  Judgment"  (XXXIII),  which 
is  cleverly  thrust  upon  the  audience  as  well  as  upon  the  characters;  "Pursuit"  (V); 
and  "Enigma"  (XI)  ;  all  of  which  have  been  used  frequently  in  much  the  same  way 
in  mystery  melodramas.  In  this  example  again  it  is  not  the  novelty  of  the  plot  so 
much  as  the  skill  of  construction  that  makes  the  story  effective,  plausible,  and  enter- 
taining. 

Because  of  the  very  great  technical  difficulties  of  this  kind  of  play,  it  is  usually 
unwise  for  the  beginning  photoplaywright  to  undertake  such  stories.  It  is  far  better  to 
acquire  technical  skill  in  the  simpler  forms  of  drama  and  then  to  advance  to  plays  of 
this  more  complicated  kind.  But  it  is  well  to  make  a  careful  study  of  mystery  stories 
because  the  very  fact  of  their  frequent  failure  will  illustrate  many  principles  of  tech- 
nique. 

"THE  TERRIBLE  BANDIT." 

(Two-reel  Western  photoplay;  Universal  production;  featuring  Jack  Perrin  and 
Josephine  Hill;  written  by  Eric  Howard;  directed  by  Reeves  Eason.) 

Synopsis. 
In  order  to  get  money  to  pay  for  her  father's  medical  treatment,  Mary  Brooks 
dresses  in  khaki  and  holds  up  a  motorist.  Perry  tVrightman,  a  fat  and  nervous  broker 
from  the  city,  on  his  way  to  a  mountain  resort.  Her  lover.  Jack  Graham,  the  sheriff 
of  the  county,  rides  along  and  observes  the  hold-up,  but  cannot  see  the  bandit  or  the 
person  being  robbed.  He  follows  the  bandit  and  soon  after  finds  his  girl  with  the 
tell-tale  mask  and  a  small,  unloaded  pistol.  Meanwhile  the  motorist  goes  on  to  the 
mountain  inn,  reports  that  he  has  been  held  up  by  a  six-foot  four,  two-gun  Mexican 
and  gathers  a  posse,  composed  of  a  French  chef,  a  British  valet,  and  a  motley  crew 
of  guests.  They  start  after  the  bandit,  and  reach  the  house  of  Mary  Brooks.  In 
order  to  throw  them  off  the  trail  Jack  runs  out  the  back  way,  but  his  horse  is  shot 

137 


and  he  is  captured.  When  he  sees  the  charade?-  of  the  posse  he  proves  that  he  is  the 
sheriff  and  dismisses  them,  telling  them  that  Perry  is  a  bank-robber  and  that  it's  a 
ruse  on  his  part  to  capture  him.  Then  he  leads  Perry,  fat,  nervous,  and  quaking,  into 
the  house  and  shows  him  the  unloaded  pistol,  the  little  girl  bandit,  and  the  sick  man. 
Perry,  however  nervous,  is  a  good  sport,  and  he  brushes  a  tear  from  his  eye,  thrusts 
the  roll  of  bills  into  the  girl's  hand,  and  hurries  away. 

There  are  several  companies  engaged  in  the  production  of  two-reel  Western 
melodramas  and  comedy  dramas,  and  this  story  will  serve  as  a  good  example  of  the 
type  of  play  required  for  the  two-reel  length.  It  involves  Situation  IX  ("Daring 
Enterprise"),  XXXIII,  ("Erroneous  Judgment"),  and  II,  ("Deliverance").  Al- 
though the  fundamental  plot  basis  is  by  no  means  novel,  its  later  development — especi- 
ally in  the  introduction  of  the  comedic  posse  and  the  human  characterization  of  the 
antagonistic  character — gives  it  a  fresh  note. 

It  should  also  be  observed  that  the  action  is  almost  consecutive  in  point  of  time 
and  that  it  depends  entirely  upon  the  contrast  between  the  characters. 

Two-reel  Western  plays,  like  short  comedies,  are  remunerative  as  sidelines  in 
photoplay  writing,  and  the  writer  who  knows  the  West  and  its  customs  should  make 
use  of  some  of  his  material  in  this  way. 

"THE  THIRTEENTH  CHAIR." 

(Produced  by  Pathe ;  starring  Yvonne  Delva;  from  the  play  by  Bayard  Veiller; 
scenario  by  Leonce  Perret;  directed  by  Leonce  Perret.) 

Synopsis. 

The  story  of  the  murder  of  two  men,  one,  Stephen  Lee,  the  other,  Edward 
Wales.  The  former,  having  been  declared  bankrupt,  conceives  the  scheme  of  black- 
mailing Helen  Trent  in  order  to  reimburse  himself.  However,  her  brother,  Willy 
Crosby,  and  her  friend,  Helen  O'Neil,  decide  to  intcrvieiu  him.  While  Willy  remains 
outside  Helen  is  engaged  in  a  fierce  struggle  to  regain  the  incriminating  letters.  Wor- 
ried over  her  absence,  the  young  man  enters  to  find  the  girl  staring  at  the  dead  body 
of  Lee,  who  has  a  knife  thrust  in  his  back. 

The  scene  shifts  to  the  Crosby  home,  where  Edward  Wales  has  engaged  a  clair- 
voyant to  solve  the  mystery  of  the  following  day,  Friday,  the  13th.  The  lights  are 
switched  off  and  the  guests  are  assembled  in  a  seance,  when  Wales,  who  has  been 
sitting  in  the  thirteenth  chair,  is  murdered  in  identically  the  same  manner  as  Lee. 
Inspector  Donahue  takes  charge,  but  an  examination  of  the  guests  fails  to  reveal  the 
weapon.  By  pre-arrangement  with  the  clairvoyant,  she  is  accused  of  the  murder. 
This  has  the  result  of  causing  Helen  O'Neil,  suspected  of  the  crime,  to  rush  to  her 
mother's  protection,  thus  disclosing  the  relationship  between  them. 

Another  seance  is  held  and  the  clairvoyant,  through  trickery,  points  to  the  real 
murderer.  And  he  confesses.  He  killed  Lee  for  breaking  up  his  home  and  stealing 
his  fortune,  and  Wales  to  prevent  him  from  discovering  the  truth. 

This  story  is  an  excellent  example  of  the  use  of  Situation  XI,  ("Enigma"),  in 
the  photoplay.  While  the  two  murders  are  rather  gruesome  they  are  properly  sub- 
ordinated to  the  sense  of  mystery  that  envelops  the  action.  In  this  case  the  spectator 
is  not  given  sufficient  time  to  think  of  the  murders  as  such,  but  his  attention  is  con- 
centrated upon  the  solution  of  the  mystery.  It  should  be  observed  that  the  author  does 
not  keep  a  secret  from  the  audience.  Rather  he  presents  all  of  the  evidence  in  an 
objective  manner  and  then  takes  the  spectator  into  his  confidence  in  working  out  the 
problem.  A  mystery  story^  so  constructed  is  much  more  interesting  and  appealing 
than  any  artificial  trick  ending  could  possibly  be,  for  the  spectator's  interest  is  carried 
swiftly  from  the  inceptive  situation  to  the  very  climax.  Situation  XXXIII,  ("Er- 
roneous Judgment"),  is  used  in  the  circumstantial  evidence  connected  with  the  t\vo 
murders,  but  it  is  used  in  an  entirely  different  way  from  any  we  have  heretofore  ob- 

138 


served.  In  this  case  the  situation  is  not  merely  confined  to  the  actors  in  the  play,  but 
it  produces  a  realistic  and  convincing  effect  upon  the  spectator.  The  author  has  used 
the  method  of  construction  employed  in  a  great  deal  of  detective  fiction,  in  which  the 
reader  is  definitely  allied  with  the  detective  in  ferreting  the  crime.  In  "Sherlock 
Holmes,"  for  example,  the  reader  is  always  another  Watson,  following  carefully 
every  deduction  of  the  master  sleuth.  Situation  III,  ("Crime  Pursued  by  Venge- 
ance"), and  especially  the  subdivision  C,  ("Professional  Pursuit  of  Criminals"),  forms 
the  basis  of  the  plot. 

This  type  of  play  is  very  difficult  to  write,  and  the  amateur  should  not  attempt 
it.  Even  in  this  case,  written  by  a  master  dramatist,  the  ending  is  not  wholly  satis- 
factory in  its  relation  to  the  mjstcry  of  the  plot.  The  use  of  the  enforced  confession, 
induced  by  a  mediumistic  seance,  although  logical  and  plausible,  is  not  especially  novel. 
In  the  last  analysis,  it  is  dependent  upon  the  chance  characterization  of  the  confessor, 
as  in  most  cases.  If  the  real  murderer  had  been  as  strong  a  character  as  his  two  crimes 
would  imply,  it  is  unlikely  that  he  would  be  so  easily  made  to  confess.  In  general, 
both  the  enforced  confession  and  the  use  of  a  mediumistic  seance  are  ineffective  plot 
elements  and  should  be  avoided.  This  story  was  originally  written  as  a  stage  play, 
where  the  illusion  of  reality  was  much  more  easily  created,  but  on  the  screen  it  failed 
to  produce  the  same  mysterious  and  enigmatic  effect. 

"TOBY'S  BOW." 

(Goldwyn  production;  starring  Tom  Moore;  adapted  from  the  stage  play  by 
John  Taintor  Foote;  directed  by  Harry  Beaumont.) 

Synopsis. 

Tom  Blake,  whose  first  novel  has  proved  a  big  success,  is  reproached  by  his 
friendly  publisher  for  wasting  his  time  in  dissipation  around  New  York.  He  goes 
to  South  Carolina  to  recuperate  and  boards  at  the  home  of  Eugenia  Fairchild,  who 
lives  on  an  impoverished  estate  with  her  old  grandmother  and  an  ancient  colored 
butler  named  Toby.  Not  wishing  to  pose  as  a  celebrity,  Blake  goes  under  the  name  of 
Jim  Porter.  To  avoid  offending  the  old  grandmother  s  pride  he  agrees  with  the  girl 
to  behave  as  an  invited  guest.  Bagby,  a  wealthy  neighbor,  is  a  suitor  for  Eugenia's 
hand,  but  she  refuses  him.  Blake  learns  to  love  the  girl.  He  finds  that  she  has  hopes 
of  a  literary  career  and  that  her  hopes  are  much  greater  than  her  ability.  But  with 
the  assistance  of  an  old  friend  of  the  family,  the  "Judge,"  he  persuades  Eugenia  to 
collaborate  ruith  him  in  writing  a  novel,  from  the  sale  of  ichich  she  can  secure  funds 
to  pay  off  a  six  thousand  dollar  note  given  to  cover  indebtedness  on  the  property. 
Blake  really  writes  the  book,  although  Eugenia  believes  half  the  work  is  hers.  His 
publisher,  Paige,  accepts  the  book.  Later  he  discovers  that  Blake  is  the  real  author 
and  comes  to  the  Fairchild  home.  Blake  is  compelled  to  acknoivledge  his  identity. 
Eugenia  finally  forgives  the  deception  and  consents  to  marry  him,  and  Toby  bestows 
upon  Blake  the  bow  he  reserves  for  members  of  the  family. 

In  this  case  the  adaptation  from  the  stage  play  falls  far  short  of  being  dramatic; 
the  story  is  a  simple,  human,  pleasing  comedy  drama  of  the  mild  kind,  with  scarcely 
a  situation  or  a  complication  to  ripple  its  surface.  Its  chief  value  lies  in  characteriza- 
tion, and  on  the  stage  the  gentle,  humorous  dialogue  and  the  pleasing  characterization 
probably  helped  the  story  to  success.  On  the  screen  the  lack  of  a  strong  plot  is  woe- 
fully apparent.  The  situation  of  "Erroneous  Judgment"  appears  in  a  very  mild 
form  and  on  this  slight  basis  the  plot  structure  is  erected.  But  the  action  is  altogether 
too  mild,  too  smooth  and  unruffled  to  be  effective  on  the  screen.  The  charm  of  the 
picture  in  this  case  depends,  not  upon  the  story,  but  upon  the  charm  of  the  star  and 
the  skillful  direction,  which  made  even  slight  and  commonplace  incidents  human  and 
interesting. 

The  brilliant  young  author  who  helps  his  sweetheart  to  pay  off  a  mortgage  by 
collaborating  with  her  is  a  rather  timeworn  and  frail  idea  on  which  to  base  a  five- 

139 


reel  photoplay.  Essentially  the  same  plot  has  been  used  in  much  the  same  way  in  the 
past.  The  story,  therefore,  furnishes  the  student  with  an  example  of  a  light  kind  of 
comedy  drama  that  is  all  too  prevalent  among  beginners.  The  characterization  of 
the  story  is  so  good  and  the  comedic  incidents  so  plentiful  that  it  is  a  pity  the  author 
could  not  have  dramatized  his  material  and  developed  it  in  a  really  interesting  way. 
When  a  photoplaywright  has  characterization  and  a  basic  plot  idea  of  this  kind,  he 
should  make  every  effort  to  find  the  situations  that  will  lead  to  a  really  dramatic 
climax. 

"TOTON." 

(Produced  by  Triangle;  starring  Olive  Thomas;  written  by  Catherine  Carr, 
directed  by  Frank  Borzage.) 

Synopsis. 

David  Lane,  an  American,  meets  Yvonne,  a  beautiful  French  girl,  in  the  Latin 
quarter  of  Paris.  He  sees  in  her  the  Madonna-like  beauty  that  inspires  him  to  im- 
plore that  she  pose  for  him,  and  in  the  days  that  follow  they  fall  in  love  and  have  a 
happy  honeymoon  after  their  hasty  marriage. 

When  Lane  is  called  to  America  by  the  death  of  his  mother,  his  father  took  ad- 
vantage of  the  opportunity  that  offered  and  had  his  lawyers  secure  an  annulment  of 
the  marriage  of  his  son  in  Paris. 

Yvonne  dies  shortly  after  the  birth  of  her  child,  "Toton,"  and  the  little  girl 
baby  is  entrusted  to  the  care  of  her  friend  Pierre,  an  Apache.  In  revenge  for  the 
sorrow  which  Pierre  believes  that  the  American  has  brought  wittingly  to  Yvonne, 
the  little  motherless  girl  is  brought  up  as  a  boy  and  trained  to  become  the  most  skilled 
pickpocket  of  the  Latin  quarter. 

In  the  meantime,  Toton's  father  has  grown  to  middle  age.  He  has  never  mar- 
ried again,  but  has  adopted  a  boy  as  his  son.  This  boy,  Carew,  goes  to  Paris  with 
his  father,  to  pursue  their  artistic  careers,  and  Toton  becomes  Carew's  guide  and 
studio  boy. 

When  an  attempt  to  rob  their  studio  of  valuable  paintings  is  made  by  Pierre, 
he  recognizes  Lane  as  the  American  he  believes  is  responsible  for  the  sorrowful  death 
of  Yvonne.  In  revenge  he  reveals  to  Lane  the  identity  of  Toton,  educated  as  a  thief^ 
and  taught  to  hate  all  things  American. 

But  the  European  war  and  the  subsequent  shelling  of  Paris  brings  about  situa- 
tions that  convince  Pierre  of  Lane's  complete  innocence  in  the  injury  brought  about 
by  his  apparent  neglect  of  Yvonne. 

Pierre  is  injured,  but  lives  to  reveal  to  Toton  the  identity  of  her  father  and  to 
see  them  happily  united.  Later,  when  America  enters  the  war,  Toton  becomes  the 
happy  wife  of  Carew. 

This  story  opens  with  a  very  effective  use  of  Situation  XXVIII,  ("Obstacles  to 
Love"),  in  the  annulment  of  the  hero's  marriage  by  his  father.  The  death  of  the 
heroine  and  her  appeal  to  the  Apache  lover  to  care  for  her  child  involve  Situations 
XXXVI,  ("Loss  of  Loved  Ones"),  and  I,  ("Supplication").  These  in  turn  are 
followed  by  IV,  ("Vengeance  Taken  for  Kindred  Upon  Kindred"),  combined  with 
XXXIII,  ("Erroneous  Judgment"). 

It  will  be  seen  that  in  this  case,  again,  the  story  is  definitely  divided  into  two 
unified  sections,  one  constituting  a  prologue  and  the  other  developing  the  real  story. 
This  is  the  only  justifiable  violation  of  the  principle  of  unity,  and  it  is  the  only 
dramatic  way  of  telling  a  story  involving  a  long  period  of  time.  Unity  of  action  and 
unity  of  theme  is  preserved  throughout  the  story,  even  in  the  face  of  its  scattered  action 
and  time  lapses. 

It  is  well  to  observe,  further,  that  every  character,  including  the  Apache  "villain," 
is  sympathetic.  It  therefore  produces  a  greater  illusion  of  reality  than  a  story  lacking 

14« 


in  subtle  characterization.  One  scene  in  this  picture  will  never  be  forgotten  by  those 
who  viewed  it:  the  scene  in  which  the  thieving,  wicked  Apache  lovingly  held  the  baby 
girl  in  his  arms  and  wept  over  her.  There  is,  in  such  a  character,  a  reasonable  and 
human  motive  for  vengeance,  and  the  theme  therefore  loses  the  artificiality  and  melo- 
drama with  which  it  is  too  often  associated. 

Special  attention  should  be  given  to  the  idea  of  the  girl  brought  up  as  a  boy. 
Although  we  have  already  referred  to  this  element  as  rather  timeworn,  in  this  case 
it  is  used  effectively  because  it  is  verj-  plausible  that  Pierre  should  so  rear  the  child, 
and  for  the  further  reason  that  the  audience  is  never  led  to  believe  that  she  is  a  boy. 
There  is  none  of  the  implausible  "disguise"  element  in  the  story,  and  in  the  actual 
production  the  loose,  free  costume  of  the  Parisian  Apache  lent  itself  admirably  to  a 
successful  use  of  the  plot  idea.  Similarly,  the  confession  of  Pierre  is  well  motivated. 
He  has  already  learned  that  he  was  mistaken  in  his  judgment  of  Lane,  and  it  is 
perfectly  natural  for  him,  dying,  to  reunite  the  daughter  and  her  father  in  order 
that  she  may  live  happily. 

All  of  which  goes  to  illustrate  that  treatment  is  of  greater  importance  than  plot 
material.  The  author  of  this  story  is  a  skilled  dramatist,  but  the  same  material, 
treated  less  e.xpertly,  would  have  been  very  implausible  and  commonplace. 

"TRAILED  BY  THREE." 

(Arthur  F.  Beck  Serial  in  Fifteen  Episodes;  story  by  Charles  T.  Dazey;  directed 
by  Perry  Vekroff.) 

Synopsis  of  First  Two  Episodes. 

Jane  Creighton  is  the  daughter  of  a  missionary  in  the  South  Sea  Islands.  She 
offers  to  help  Anoto,  chief  of  a  tribe  whose  people  have  been  imprisoned  by  one  Rankin, 
who  has  set  himself  up  as  a  ruler  and  shown  great  cruelty  to  the  natives.  Anoto 
is  in  possession  of  priceless  pearls  and  he  goes  to  America  with  Jane  to  sell  them  and 
buy  the  freedom  of  his  people.  In  America  the  two  run  into  a  series  of  startling 
adventures  and  find  themselves  pursued  by  Trent  and  his  accomplices.  Jane  finds 
a  friend  in  Tom  Careue.  ivho  does  all  in  his  poiver  to  help  the  girl.  Tom  goes  to 
a  Chinese  joint  to  locate  the  jewels,  which  have  been  stolen.  He  is  dropped  into  a 
pit  but  saved  by  Anoto.  Jane  has  been  taken  to  the  joint  by  a  chap  who  is  posing 
as  Tom's  friend,  but  he  reveals  himself  as  a  villain  in  league  with  Trent.  Tom  and 
Anoto  hurry  to  the  girl's  rescue  when  they  hear  her  cries,  but  Tom  is  about  to  be 
stabbed  to  death  by  an  infuriated  Chinaman  when  the  second  episode  ends. 

A  serial  production  of  fifteen  episodes  (thirty  thousand  feet  of  film)  naturally 
involves  a  rather  complicated  story.  One  of  the  most  difficult  factors  in  the  construc- 
tion of  such  a  photoplay  is  presented  by  the  necessity  of  getting  the  story  started  in 
the  first  episode.  It  is  necessary  to  "plant"  the  seeds  of  all  the  later  complications 
in  a  swift  and  interesting  episode.  The  simplest  and  perhaps  the  best  method  is  to 
present  a  clear  and  definite  conflict,  motivated  by  some  strong  desire  (such  as  the 
desire  of  Trent  to  secure  the  pearls  in  Anoto's  possession),  and  then  to  carry  this 
conflict  into  all  of  its  possible  ramifications. 

The  first  two  episodes  of  "Trailed  by  Three"  afford  a  good  example  of  the  quick 
and  thrilling  inception  9f  the  plot.  The  conflict  is  presented,  the  factions  outlined,  and 
the  central  characters  then  plunged  into  a  surprising  and  adventurous  series  of  dangers 
and  escapes.  There  is  no  special  novelty  in  the  plot  material  of  the  story,  but  from 
the  constructive  viewpoint  it  is  brisk,  interesting  and  effective. 

The  situations  that  appear  in  the  story  are  VI,  ("Disaster"),  II,  ("Deliverance"), 
XII,  ("Obtaining"),  and  X,  ("Abduction"),  all  of  which  are  calculated  to  be 
of   melodramatic   interest. 

The  technical  skill  required  in  the  construction  of  a  serial  photoplay  makes  it 
unwise  for  the  beginning  writer  to  undertake  this  form.     Although  high  prices  are 

141 


paid  for  serials,  the  five  reel  feature  play  oAEts  much  better  opportunities  to  the 
beginner,  both  in  mastering  technique  and  in  salability.  The  serials  are  here  given 
as  examples  because  many  students  are  interested  in  this  form. 

"TWO  WEEKS." 

(First  National  production;  starring  Constance  Talmadge;  adapted  from  the 
play  "At  the  Barn"  by  Anthony  Wharton;  directed  by  Sydney  A.  Franklin.) 

Synopsis. 

Lillums  Blair,  Broadway  chorus  girl,  tolerates  the  advances  of  wealthy  Reginald 
Clonbarry  because  of  his  theatrical  influence.  He  promises  not  to  speak  of  love  until 
she  has  achieved  success,  induces  a  promoter  to  star  her  and  her  debut  is  the  season's 
hit.  At  a  celebration  party  Clonbarry  demands  payment  and  Lillums  runs  away, 
boards  a  passing  wagon  and  winds  up  at  the  country  home  of  three  bachelors,  two 
elderly,  one,  Kenneth  Maxwell,  young  but  straight-laced.  She  obtains  shelter,  and 
when  Clonbarry  arrives  in  pursuit,  Kenneth  tells  him  she  is  an  old  friend  who  is  going 
to  spend  two  iveeks  with  them.  Clonbarry  goes.  Lillums  accepts  the  invitation,  much 
to  Maxwell's  horror.  But  she  is  not  to  be  driven  away,  and  finally  her  innocent 
gaiety  wins  the  trio  and  Maxwell  falls  in  love  with  her.  Still  he  mistrusts  Lillums, 
until  she  allows  him  to  overhear  Clonbarry  proposing  to  her  to  accompany  him.  She 
then  tells  Alaxwell  some  wholesome  truths  and  all  ends  well. 

In  this  story  we  find  another  clear  example  of  the  comedy  drama  based  upon  the 
conflict  of  contrasted  characters.  The  idea  of  a  girl  of  the  theater  being  placed  in  con- 
flict with  the  three  bachelors,  and  especially  with  the  straight-laced  young  bachelor, 
is  an  effective  premise  for  the  play.  As  soon  as  the  well  contrasted  characters  are 
introduced,  there  is  a  degree  of  suspense  in  the  play,  and  it  should  be  noted  that  it 
is  suspense  of  character  at  the  beginning  rather  than  suspense  of  plot  devices.  There 
is  no  more  authentic  basis  for  suspense  than  this.  In  "The  Miracle  Man,"  as  soon 
as  the  crook  read  the  press  item  that  told  of  the  miracle-working  Patriarch,  without 
any  further  plot  development,  we  were  on  the  alert  and  held  in  tense  expectancy  to 
see  just  what  would  come  of  the  conflict  of  these  very  different  individuals.  And 
in  this  romantic  comedy  drama  much  the  same  expectancy  is  created  by  the  contrast 
in  character.  In  real  life  it  is  the  uncertain  and  often  unexpected  twist  of  character 
that  awakens  our  interest,  rather  than  an  unusual  situation.  We  often  hear  it  said, 
for  example,  "I  never  thought  she  would  do  that!"  or  "How  could  he  possibly  have 
acted  so?"  We  are  surprised  by  the  actions  of  certain  characters,  and  there  is  sus- 
pense in  our  observation  of  them.  If,  in  creating  characters  for  a  photoplay,  one 
draws  persons  so  human  that  they  will  do  unexpected  yet  plausible  things,  one  has 
gone  far  in  the  establishment  of  a  dramatic  premise. 

This  story  opens  with  a  comedic  form  of  Situation  VII,  ("Falling  Prey  to  Cruelty 
or  Misfortune"),  with  which  is  combined  XXXIII,  ("Erroneous  Judgment").  Sit- 
uations I  and  II,  ("Supplication"  and  "Deliverance"),  also  enter  into  the  play  and 
"Erroneous  Judgment"  recurs  in  several  forms.  All  of  these  situations  are  natural, 
plausible  and  interesting  because  they  spring  with  seeming  inevitability  from  the 
inter-relation  and  the  reactions  of  the  characters  one  to  another. 

The  idea  of  a  girl  of  the  stage  winning  the  love  of  a  Puritanic  and  ultra-respect- 
able man,  who  temporarily  considers  her  like  all  other  women  of  the  theatre,  has 
been  used  many  times  before,  and  it  is  made  novel  in  this  story  only  by  the  individ- 
uality of  the  characters  and  the  cleverness  of  the  incidents.  The  plot  itself  is  very 
simple  and  uncomplicated  and  only  by  the  skillful  use  of  incident  could  it  be  developed 
to  the  five-reel  length.  It  might  have  been  possible  to  have  developed  a  stronger 
and  more  amusing  play  from  the  same  premise,  and  if  the  story  had  originally  been 
written  for  the  screen  it  would  have  contained  situations  of  greater  strength.  But 
it  serves  to  illustrate  the  use  of  character  contrast  in  the  lighter  forms  of  the  photoplay. 

142 


"THE  VENTURES  OF  RUTH" 

(Produced  by  Ruth  Roland  Serials,  Inc.;  serial  production  in  fifteen  episodes  of 
two  reels  each;  scenario  by  Gilson  Willets;  directed  by  Harry  Haskin.) 

Synopsis. 

Fulfilling  the  promise  made  her  dead  father,  Ruth  Robin  sets  out  in  determined 
fashion  to  accomplish  the  task  set  for  her  with  each  one  of  the  thirteen  keys,  which 
come  to  her  most  mysteriously  one  at  a  time.  Her  father  has  informed  her  that  her 
fortune  is  deeply  involved  with  a  peacock  fan,  which  is  claimed  by  a  woman  who 
presents  herself  as  the  Countess  Zitka.  Ruth's  father  ivas  gotten  fast  in  the  toils 
of  a  society  of  arch  criminals  known  as  the  "13,"  and  it  is  part  of  Ruth's  mission  to 
right  some  of  the  wrongs  her  father  luas  forced  to  commit.  As  the  "13"  do  not  know 
she  is  their  former  member  s  daughter,  her  job  is  slightly  easier,  in  so  far  as  they  have 
sworn  to  have  revenge  on  the  girl  if  ever  she  should  get  ivithin  their  reach.  In  the 
first  three  episodes  Ruth  performs  the  duties  imposed  upon  her  by  the  notes,  which 
are  wrapped  about  the  keys.  She  recovers  the  peacock  fan,  returns  a  valuable  neck- 
lace to  the  home  from  which  it  was  stolen,  and  frees  a  girl  whom  the  "13"  are  holding 
for  a  large  ransom  from  her  father.  In  accomplishing  her  objects,  Ruth  encounters 
all  the  dangers  and  hazards  which  go  with  contact  ivith  people  whose  homes  are  filled 
with  sliding  panels  and  trap  doors.  ■ 

The  plot  of  this  serial  is  of  the  extremely  fantastic  and  improbable  kind,  relying 
more  upon  swift  and  romantic  action  than  upon  logic  for  its  effects.  There  is  a  mys- 
tery and  fascination  about  the  premise  of  the  plot  that  will  appeal  to  all  lovers  of 
thrilling  adventure,  and  for  the  duration  of  the  picture  at  least  the  effect  of  plausi- 
bility can  be  maintained.  Once  the  premise  of  the  plot  is  granted,  the  events  that 
follow  are  fairly  logical  and  do  not  depend  in  any  great  degree  upon  chance  or  coin- 
cidence. In  serials  to  an  even  greater  extent  than  in  other  forms  of  the  photoplay, 
the  author  must  work  back  to  the  starting  point  from  his  climaxes  in  order  to  estab- 
lish premises  that  will  logically  lead  to  the  thrilling  situations.  Amateurs  who  attempt 
the  serial  form  often  fail  to  establish  sound  premises  and  their  efforts  consequently 
fall  short  of  conviction. 

In  this  story  the  plot  is  founded  upon  a  form  of  "Self-sacrifice,"  (Situations  XXI 
and  XXII),  in  that  the  heroine  makes  a  promise  to  her  dying  father  which  involves 
her  in  many  predicaments.  The  trick  of  the  thirteen  keys  is  an  especially  good  device 
for  serial  purposes,  for  it  provides  a  new  starting  point  for  almost  every  episode.  "The 
Enigma,"  (XI),  and  "Crime  Pursued  by  Vengeance,"  (III),  and  "Deliverance," 
(II),  also  appear  in  the  plot  in  various  episodes. 

The  appeal  of  serials,  especially  of  this  fantastic  type,  rests  largely  upon  the 
author's  ingenuity  in  devising  a  swift  succession  of  predicaments.  In  a  serial  some- 
thing must  happen,  and  something  exciting,  in  almost  every  foot  of  film.  The  writing 
of  serials,  therefore,  requires  an  alert  and  quick  imagination  and  the  ability  to  keep 
one  situation  continually  crowding  out  another  for  a  place  in  the  plot. 

It  will  be  observed  that  the  serials  we  have  considered  follow  more  or  less  form- 
ulated plots,  with  little  deviation  from  traditional  material,  for  only  a  few  of  the 
situations  of  the  thirty-six  can  be  effectively  employed  in  so  swift  a  sequence.  But 
the  time  is  coming  when  producers  will  demand  more  plot  logic  and  better  characteriza- 
tion in  this  form  of  play. 

"WHY  CHANGE  YOUR  WIFE." 

(Cecil  B.  DeMille  special  production ;  stor>'  by  William  C.  DeMille;  scenario  by 
Sada  Cowan  and  Olga  Printzlau;  featuring  Thomas  Meighan  and  Gloria  Swanson; 
directed  by  Cecil  B.  DeMille.) 

143 


Synopsis. 

After  ten  years  of  married  life,  Beth  and  Robert  Gordon  are  fast  driftir.g 
apart.  Beth  is  too  wifely  and  tries  too  hard  to  please  her  husband  with  the  result 
that  she  becomes  a  bore  instead  of  a  helpmate.  In  a  huff  the  husband  keeps  an  appoint- 
ment with  a  young  woman  client  of  his.  He  is  caught  by  Beth  and  the  two  are 
divorced.  Robert  marries  the  client  widow,  but  soon  discovers  that  she  is  becoming 
worse  than  his  first  wife  had  ever  been.  Beth,  heartbroken,  decided  to  change  her 
method  of  living  and  becomes  extravagant.  Beth  and  Gordon  meet  again  and  they 
realize  their  mistake.  She  nurses  him  through  an  attack  of  a  sickness.  A  divorce  is 
granted  from  wife  number  two,  and  Gordon  and  Beth  begin  life  again. 

The  brief  synopsis  can  not  even  suggest  the  subtleties  of  characterization,  dramatic 
technique  and  direction  in  the  completed  photoplay.  The  plot  is  a  very  simple  and 
uncomplicated  one,  but  it  was  developed  with  a  great  deal  of  dramatic  skill  and 
human  interest.  The  continuity  of  the  play,  as  those  readers  who  have  seen  it  will 
remember,  was  unusually  perfect  in  keeping  the  various  factions  of  characters  before 
the  audience  and  in  preparing  the  way  for  dramatic  crises.  The  use  of  repetition 
was  especially  good  in  dramatic  value.  For  example,  the  beginning  of  the  breach 
between  Beth  and  Robert  occurred  as  the  result  of  Beth's  interruptions  of  Robert 
while  he  was  shaving.  The  same  scenes,  virtually,  were  re-enacted  with  Sally  and 
Robert.  There  were  at  least  twenty  such  repetitions  in  the  play,  and  each  one  added 
to  the  character  development  and  to  the  cumulative  dramatic  effect.  This  device 
serves  to  unify  an  otherwise  disjointed  story,  in  the  same  way  as  a  key  title. 

Although  there  were  a  number  of  coincidences  and  accidents  in  the  play,  the 
characterization  was  so  thoroughly  human  that  they  did  not  strain  the  credulity. 

The  situations  of  real  dramatic  value  in  the  story  all  sprang  from  character. 
Situations  XXIV,  ("Rivalry  Between  Superior  and  Inferior"),  VIII,  ("Revolt"), 
which  involved  all  of  the  characters  in  a  different  way,  and  II,  ("Deliverance"), 
were  employed  in  the  play,  the  first  two  with  noteworthy  effect. 

The  value  of  a  play  of  this  kind  lies  almost  wholly  in  the  lifelike  presentation 
of  character.  It  is  essentially  the  old,  old  story  of  two  women  in  love  with  one 
man,  a  story  that  is  always  new  if  the  characters  are  new.  It  therefore  possesses  a 
universal  appeal  and  a  deep  human  interest,  and  it  creates  the  illusion  of  reality  in  a 
marked  degree.  But  the  dramatic  skill  and  subtlety  in  the  treatment  of  character 
development  and  in  the  use  of  incidents  is  of  much  greater  value,  in  such  a  case, 
than  the  mere  plot  structure. 

"WIVES  AND  OTHER  WIVES." 

(Produced  by  American;  starring  Mary  Miles  Minter;  written  by  Stephen 
Fox;  directed  by  Lloyd  Ingraham. ) 

Synopsis. 

Mary  Miles  Minter  plays  the  part  of  Robin  Challoner,  a  bride  of  a  few  days. 
Her  husband  enters  as  she  is  burning  some  love  letters  and  becomes  very  jealous. 
She  leads  him  to  believe  that  the  letters  are  from  a  rival  and  he  leaves  her.  In  the 
apartment  above  lives  a  judge  and  his  wife.  They  expect  a  certain  Mr.  and  Mrs. 
Craig  to  call  and  sublease  the  apartment.  Through  error,  Craig  gets  off  the  elevator 
at  the  wrong  floor,  and  wanders  into  the  Challoner  apartment.  He  is  mistaken  by 
the  young  bride  for  a  burglar.  She  shoots,  he  faints  from  fright.  She  thinks  she 
has  killed  him.  She  runs  out  for  a  doctor.  Her  husband  returns  and  discovirs 
Craig,  apparently  intoxicated,  in  his  wife's  room.  This  further  kindles  the  flame 
of  jealousy,  and  Challoner  decides  upon  a  divorce.  IVith  a  view  to  restoring  the  domes- 
tic equilibrium,  the  judge  invites  the  young  bride  and  her  husband  to  his  country 
home  for  a  visit.  Mrs.  Craig  is  invited,  as  well  as  some  mutual  acquaintances,  the 
Doubledays.  Mr.  Craig  gets  slightly  intoxicated.  When  he  learns  that  his  zvife 
has  gone  to  the  country,  he  folloivs.     Because  of  his  condition,  the  butler  suggests 

144 


that  "he  sleep  it  off"  before  being  presented  to  the  company.  In  his  befuddled  con- 
dition, Craig  staggers  into  Mrs.  Challoner's  room  and  goes  to  bed.  She  enters  and 
believes  her  husband  has  made  up  his  mind  to  come  back.  She  discovers  that  it  is 
a  stranger.  She  screams.  At  the  same  time  Mr.  Challoner,  in  the  suite  across  the 
hall,  is  confronted  by  Mrs.  Craig.  Both  appear  very  embarrassed.  Betueen  the 
two  couples  there  now  develops  a  series  of  situations  as  they  try  to  find  out  just 
where  they  do  belong.  The  Doubledays  plan  a  fake  "robbery"  in  order  to  collect 
insurance  on  their  jeivelry.  Their  maid  overhears  their  plans.  She  immediately 
informs  the  chauffeur  and  the  two  decide  to  get  the  jnvclry  and  skip.  The  Double- 
days  make  known  the  "robbery." 

The  guests  are  discussing  the  "robbery,"  Robin's  letters  are  found.  The  judge 
believes  the  letters  to  be  a  clue  to  the  "robbery."  He  informs  the  guests  that  he 
will  place  the  letters  in  a  table  drawer  and  that  by  morning  he  expects  to  see  the 
jewelry  in  place  of  the  letters  or  he  will  inform  the  police.  Robin,  not  wishing  her 
letters  to  be  exposed,  endeavors  to  obtain  them.  Her  husband,  anxious  to  find  out 
who  ivrote  the  letters,  sets  out  upon  the  same  mission.  The  Doubledays  find  that 
their  jewelry  has  actually  been  stolen.  Meanwhile,  the  maid  and  the  chauffeur 
prepare  to  get  away.  Robin  accidentally  discovers  them  making  their  getatvay.  She 
turns  the  culprits  and  the  jeivelry  over  to  the  judge.  The  maid  not  only  admits 
the  robbery,  but  tells  of  the  Doubledays'  scheme.  The  judge  requests  the  Doubledays 
to  leave  his  home  immediately.  Challoner  then  finds  out  it  was  his  oivn  letters  that 
caused  all  the  trouble,  and  "after  the  heavy  storm  the  sun  shines  again." 

It  would  be  difficult  to  find  a  more  clever  example  of  light,  farcical  comedy 
drama  than  "Wives  and  Other  Wives,"  which  is  based  upon  variations  of  Situa- 
tions XXXII  and  XXXIII,  ("Mistaken  Jealousy"  and  "Erroneous  Judgment"). 
The  infinite  variations  on  old  themes  can  not  better  be  illustrated  than  by  this 
example.  The  story  deals  with  the  very  human  and  plausible  idea  of  a  jealous  young 
husband  and  a  clever  wife,  who  hopes  to  arouse  his  interest  and  attention  by  main- 
taining the  jealousy.  This  same  idea,  in  the  abstract,  has  been  employed  scores  of 
times  as  the  basis  of  one  and  two-reel  comedies,  but  in  this  case  it  was  lengthened  to 
five  reels,  and  the  farcical  spirit  of  the  story  was  well  preserved  throughout. 

The  plot  frequently  depends  upon  chance  occurrences,  but  the  action  is  restricted 
to  such  close  quarters — first,  within  the  apartment  building  and  then  within  the 
country  house — that  the  overhearings  and  meetings  are  much  more  plausible  than 
they  otherwise  could  have  been.  It  is  well  for  the  photoplaywright  to  observe  the 
amount  of  material  required  for  a  farcical  comedy  drama  of  this  type.  The  action 
of  such  productions  must  be  swift  and  progressive,  corresponding  to  the  farce  tempo 
of  stage  plays,  and  for  that  reason  more  plot  material  of  an  incidental  kind  is  required 
than  in  straight  drama  or  less  farcical  comedy  drama. 

"THE  WOLF." 

Produced  by  Vitagraph ;  starring  Earle  Williams;  from  the  play  by  Eugene  Wal- 
ter; scenario  and  direction  by  James  Young.) 

Synopsis. 

'  Jules  Beaublien  is  a  French-Canadian  trapper,  whose  sole  mission  in  the  story 
is  to  mete  out  vengeance  upon  the  man  who  wronged  his  sister.  He  has  been  absent 
two  years  and  on  his  return  tvith  the  girl's  fiancee,  Baptiste,  he  discovers  that  she  is 
only  a  memory.  Jules  wins  his  friend's  consent  to  be  the  man  who  will  execute  the 
vengeance,  and  if  he  fails,  the  mission  will  fall  upon  the  latter.  They  venture  to  the^ 
home  of  Andrew  MacTavish,  a  Scotch  settler,  whose  daughter,  Hilda,  is  Jules' 
beloved. 

There  it  is  that  fate  takes  a  kindly  hand  and  introduces  the  American,  Mac- 
Donald.  He  is  the  guilty  one,  but  he  is  wily  enough  to  hide  his  secret.  Houever, 
in  a  moment  of  proud  boastfulness,  he  admits  to  his  companion,  Huntley,  that  he  is 

145 


responsible  for  the  tragedy.  And  the  news  reaches  Jules.  The  trapper  is  not  ready  to 
strike.  He  must  first  provide  for  the  safety  of  Hilda,  who  has  fallen  into  the  clutches 
of  the  American.  Her  father  has  never  forgiven  her  for  her  resemblance  to  her 
pleasure-loving  mother.  So  Jules  must  convince  the  father  that  she  is  a  dutiful 
daughter. 

The  time  arrives  for  the  execution  of  vengeance.  The  crafty  Frenchman  lures 
the  American  to  the  edge  of  a  river,  and  in  a  terrific  duel,  he  accomplishes  his  mis- 
sion.    Thus  the  shadow  gives  away  to  sunshine,  for  Jules  finds  happiness  with  Hilda. 

This  photoplay  is  a  good  example  of  a  very  strong  and  successful  stage  play  that 
failed  to  produce  the  same  effect  upon  the  screen.  It  is  built,  as  stage  plays  of  three 
acts  may  well  be,  upon  one  dominant  situation — III,  ("Crime  Pursued  by  Ven- 
geance"). The  entire  story  is  motivated  by  Jules'  desire  for  vengeance  and  upon  the 
slow  but  sure  means  he  uses  to  take  it.  In  the  stage  play,  the  dialogue  was  colorful 
and  picturesque,  and  the  tempo  of  the  production  was  admirably  suited  to  the  devel- 
opment and  maintenance  of  suspense.  But  on  the  screen  the  dramatic  backbone  was 
not  sufficient  for  a  long  picture.  In  two  or  three  reels,  the  same  theme  might  have 
been  worked  out  with  excellent  effect,  but  in  five  or  six  reels  one  tense  situation  is 
lost  in  a  sequence  of  draggy  and  nonessential  action.  This  is  true  of  many  stage 
plays,  and  again  illustrates  the  necessity  for  photoplays  that  are  created  from  the 
screen  standpoint.  Situation  XIII,  ("Enmity  of  Kinsmen"),  is  slightly  suggested  by 
the  father's  attitude  towards  the  heroine,  but  this  situation  does  not  develop  dra- 
matically. 

The  photoplay^vright  should  exercise  a  great  deal  of  care  in  building  his  plots, 
to  avoid  such  a  shortage  of  plot  material.  In  general,  this  danger  is  met  with  in 
light  comedy  dramas  rather  than  in  melodramas  of  this  type,  which  sometimes  suffer 
from  a  plethora  of  plot.  As  we  have  seen  in  Part  I,  the  most  nearly  accurate 
rule  that  can  be  laid  down  is  the  rule  of  three.  If  there  are  three  vital,  well- 
balanced  situations  in  a  story,  it  is  almost  sure  to  contain  five  reels  of  dramatic  action. 
In  considering  the  examples,  however,  we  find  that  although  there  are  three  critical 
situations  in  strong  photoplays,  there  are  often  many  others  suggested  or  used  in  part. 

"The  Wolf"  may  be  considered  as  one  of  the  best  of  many  pictures  dealing  with 
the  theme  of  vengeance  in  the  locale  of  the  Northwest  and  with  a  French-Canadian 
hero.  The  picturesque  quality  of  such  a  hero  has  been  the  cause  of  many  repetitions 
of  this  idea,  and  it  should  be  avoided  by  all  except  those  writers  who  know  the  coun- 
try and  the  characters  of  it.  Do  not  be  led  far  afield  in  your  quest  for  plot  material ; 
the  man  or  woman  next  door  is  just  as  interesting,  if  you  view  them  from  an  inter- 
esting angle,  as  any  exotic  character  may  be. 

"A  WOMAN  IN  GRAY." 

(Serico  Producing  Corporation;  serial  in  Fifteen  Episodes;  written  by  C.  N. 
and  A.  M.  Williamson;  scenario  by  Walter  R.  Hall;  directed  by  James  Vincent.) 

Synopsis. 

Wilfred  Amory  buys  the  old  Amory  residence,  where  he  was  born,  at  a  tax 
sale.  It  has  stood  vacant  since  the  murder  of  old  Mrs.  Haynes  within  its  walls. 
Through  evidence  given  by  Mary  Edivards,  servant,  Florence  Haynes,  an  adopted 
daughter,  tvas  convicted  of  the  crime  and  died  in  prison.  Amory  sends  his  secretary, 
Tom  Thurston,  to  inspect  the  property.  Tom  meets  Ruth  Hope,  a  girl  dressed  in 
gray,  in  the  old  house.  She  tells  him,  laughing,  that  she  is  also  inspecting,  but  does 
not  explain  how  she  got  in  without  a  key.  Amory  and  his  niece  arrive.  The  former 
is  convinced  that  his  father  left  concealed  treasure  in  the  house  and  this  belief  is 
strengthened  by  the  discovery  of  a  code  paper  in  an  old  family  Bible.  Haviland- 
Hunter,  a  man  of  mystery,  also  gains  access  to  the  house  by  a  secret  passage.  He  is 
intent  on  finding  the  code,  kidnaps  Ruth  and  carries  her  off  in  an  auto.  Thurston 
pursues  and  rescues  her.     Ruth  constantly  iiears  a  bracelet  of  old  design,  xvhich  covers 

146 


the  back  of  her  right  hand.  Amory,  uho  knows  her  as  the  author  of  a  novel  with  the 
title,  "A  Wotnan  in  Gray,"  suspects  that  she  has  a  strong  interest  in  the  code  and 
its  key,  which  is  contained  in  another  document.  He  wonders  whether  she  is  the 
Mary  Edivards  on  whose  testimony  Mrs.  Hayne's  daughter  was  convicted.  Amory's 
niece,  Paula  Wynne,  is  jealous  of  Ruth,  ivith  whom  Tom  has  fallen  in  love.  Havi- 
land-Hunter  and  his  henchmen  make  desperate  efforts  to  do  away  with  Ruth,  and 
finally  succeed  in  obtaining  the  code.  But  they  are  unable  to  decipher  it,  without 
Ruth's  help.  They  decoy  her  to  Hunter's  den  in  the  slums.  She  breaks  away  from 
her  captors,  just  as  Tom  arrives.  Escaping  through  a  window,  she  swings  herself 
across  the  intervening  space  on  a  clothes  line.  Hunter  proceeds  to  cut  the  rope  by 
which  she  is  suspended  in  mid-air. 

In  the  presentation  of  a  consistent  and  well-constructed  plot,  this  serial  is  above 
the  average  of  serial  productions.  Its  basic  situations  arc  "The  Enigma,"  (XI), 
"Obtaining,"  (XII),  and  "Abduction,"  (X).  The  use  of  the  first  two  of  these 
three  leads  to  a  good  element  of  mystery  in  the  opening  episodes,  and  "Abduction," 
as  we  have  observed  before,  forms  a  very  good  basis  for  a  thrilling  and  exciting 
sequence  of  events. 

The  use  of  the  mysterious  code  as  the  object  of  the  conflict  is  an  idea  that  is 
employed  rather  frequently,  and  it  is  a  variation  of  the  familiar  melodrama  quest  for 
the  "papers."  In  this  story  there  is  more  logic  in  the  development  of  the  idea  than 
usually,  for  it  is  fairly  plausible  that  a  treasure  might  be  buried  in  the  estate  and  that 
the  code  of  plans  leading  to  it  might  be  somewhere  concealed.  Many  writers  of 
serials  concentrate  so  entirely  upon  developing  the  thrills  that  end  each  episode  that 
they  fail  entirely  in  working  out  a  consistent  and  plausible  plot.  It  is  an  indication 
of  the  improved  production  conditions  that  the  recent  serials  are  more  logical,  more 
effective,  and  no  less  dramatic  and  sensational,  than  those  of  the  past.  All  branches  of 
the  photoplay  are  advancing  in  quality,  and  the  day  is  not  far  distant  when  the  serial 
productions  will  be  founded  upon  sound,  plausible,  human  stories  of  as  high  a  qual- 
ity as  the  magazine  serials.  Photoplayvvrights  interested  in  the  writing  of  serials, 
which  has  always  been  a  remunerative  field,  should  make  a  very  careful  study  of  the 
situations  most  often  used  and  of  the  technique  of  mystery.  There  will  be  a  very 
strong  market  for  really  good  stories  of  this  kind  in  the  near  future,  for  thrilling 
melodrama — with  its  direct  appeal  to  the  dramatic  instincts — will  always  have  a  wide 
audience. 

"A  WOMAN  WHO  UNDERSTOOD." 

(Robertson-Cole  production;  starring  Bessie  Barriscale;  written  by  Isabella 
Johnson;  directed  by  William  Parke.) 

Synopsis. 

Madge  Graham,  sculptress  in  Greenwich  Village,  gives  up  her  art  career  to 
marry  violinist  Robert  Knight.  They  have  two  children.  Knight  becomes  gradually 
fascinated  with  Mrs.  Alden,  wife  of  a  wealthy  man,  while  Madge  devotes  herself 
to  the  children.  Robert  gives  a  recital  at  the  Aldens'  summer  home.  His  wife  dis- 
covirs  him  in  a  compromising  attitude  with  Mrs.  Alden.  A  fire  breaks  out.  Just 
as  Madge  tells  her  husband  she  is  willing  to  leave  him,  the  alarm  is  raised.  Robert 
is  badly  burned  in  tearing  down  burning  draperies.  It  becomes  necessary  to  resort 
to  a  skin-grafting  operation  to  save  him.  Mrs.  Alden  refuses  to  aid  the  surgeons, 
but  Madge  sacrifices  her  skin  cheerfully.     Robert  and  his  wife  are  reunited. 

Self-sacrifice,  as  exemplified  by  the  steadfast  love  of  a  good  woman  for  her  erring 
husband,  is  the  theme  and  the  basic  situation  of  this  story.  So  far  as  the  plot 
is  concerned,  it  offers  little  that  is  new,  and  its  dramatic  effect  depends  wholly  upon 
two  elements.  First,  the  utterly  sympathetic  character  of  the  heroine,  which  must 
produce  an  emotional  effect  upon  the  average  spectator.  Second,  the  skillful  con- 
struction of  the  climax.     Neither  Madge's  decision  to  leave  Robert  and  to  set  hun 

147 


free  nor  the  fire  is  a  dramatic  plot  element ;  but  when  they  are  combined  so  that  the 
fire  comes  immediately  after  Madge's  decision,  a  great  deal  of  dramatic  suspense  is 
created.  This  leads  to  a  tense  and  interesting  climax,  and  presents  the  characters  in 
more  clearly  defined  predicaments.  Madge  has  already  won  our  sympathy,  through 
suffering;  now  Robert  comes  in  for  his  share  by  reason  of  his  physical  courage  and 
his  suffering.  We  should  hate  Madge  if  she  left  him  to  suffer  alone,  yet  she  would 
be  partially  justified  in  doing  so.  What  will  she  do?  The  answer  to  this  dramatic 
question  leads  on  to  the  wholly  satisfying,  though  in  itself  timeworn,  climax.  Blood 
transfusion  has  been  employed  similarly  very  often,  and  the  author  might  have  found 
an  equally  dramatic  and  less  sensational  bit  of  material  for  the  climax.  But  the 
technique  of  the  play,  while  simple,  is  well  worth  study,  especially  as  it  illustrates 
a  very  adroit  development  of  suspense. 

Situations  XXI,  already  mentioned,  VII,  II,  and  XXXIV,  are  used  in  the  play. 
Although  the  plot  is  fundamentally  trite  in  its  material,  it  is  a  very  helpful  example 
of  how  even  hackneyed  stories  can  be  dramatized  and  made  interesting  by  clever 
treatment. 


148 


PART  FOUR. 


CHAPTER  XIV. 
The  Photoplay  of  the  Future. 

1.  The  way  of  the  prophet  is  beset  by  pitfalls,  but  perhaps  a  word  may  be 
allowed  concerning  the  probable  developments  of  the  photoplay  during  the  next  few 
years.  During  the  relatively  short  period  of  photoplay  history  the  new  art  of  pre- 
senting fiction  by  means  of  pictured  action  has  made  surprising  advances.  The  motion 
picture  is  no  longer  held  in  contempt  by  the  "highbrows"  of  the  literary  and  art 
world,  but  it  has  in  fact  recruited  many  of  its  early  detractors  as  directors  and  writ- 
ers and  producers.  Many  experiments  have  been  tried,  many  failures  must  be 
recorded,  but  in  the  various  cycles  of  development  there  has  been  a  continual  prog- 
ress towards  a  form  of  art  that  at  its  best  is  comparable  to  the  best  of  the  stage 
and  of  printed  fiction. 

2.  The  candid  and  unbiased  observer  will  admit  that  the  screen,  on  the  whole, 
provides  as  intelligent  and  interesting  entertainment  as  the  stage  or  the  popular  maga- 
zines. The  necessity  of  making  an  appeal  to  a  wide  and  indiscriminate  audience 
limits  all  of  these  forms  of  popular  entertainment,  and  the  artistic  merit  of  the  pro- 
ductions can  only  be  judged  from  the  popular  standpoint.  The  producers  and  exhib- 
itors of  photoplays  make  a  very  serious  effort  to  discover  what  the  public  likes  and 
to  provide  such  productions,  and  it  is  gratifying  to  know  that  the  photoplays  that 
have  been  considered  best  by  all  the  critics  have  made  the  deepest  popular  appeal, 
such  as  "The  Miracle  Man."  Too  many  writers  in  the  past  have  endeavored  to 
write  "down  to  their  audience."  But  this  is  no  longer  necessary.  There  can  be  no 
question  of  the  public's  genuine  appreciation  and  respect  for  true  drama,  providing 
only  that  it  possesses  the  reality  and  the  charm  of  life. 

3.  The  first  thing  that  we  can  say  of  the  photoplay  of  the  future,  then,  is  that 
it  will  be  of  a  higher  dramatic  standard  than  in  the  past.  There  will  be  less  arti- 
ficiality of  plot,  less  absurdity  of  theme,  less  of  the  mechanical  manufacture  of  plots 
for  the  sake  of  producing  an  unreal  thrill.  Instead  the  plays  will  be  of  the  substance 
of  life,  dramatically  constructed  of  course,  but  founded  upon  real  situations  of  real 
significance  to  the  average  spectator.  The  producers  are  already  recognizing  the  need 
for  plays  that  truly  reflect  and  interpret  life,  and  such  photoplays  are  easily  salable 
if  they  also  possess  genuine  dramatic  value.  But  the  writers  who  have  written  for  the 
screen  in  the  past,  the  authors  of  stage  plays  and  novels  whose  work  has  been  adapted, 
and  the  beginning  photoplay wrights  do  not  seem  to  recognize  the  same  necessity.  If 
we  can  only  impress  upon  students  the  necessity  of  taking  the  photoplay'  seriously 
as  an  art  form,  of  writing  real  stories  of  real  life,  of  dealing  with  themes  of  genuine 
significance  to  the  average  theatre-goer,  we  shall  have  accomplished  the  chief  purpose 
of  this  book. 

4.  Consequently,  in  the  future,  photoplaywrights  will  be  more  concerned  with 
theme  and  with  characterization  than  in  the  past.  There  will  be  more  genuine 
creative  thought  in  the  building  of  photoplays,  and  the  photoplayv.right  will  work 
more  slowly  and  carefully,  making  each  play  the  very  best  of  which  he  is  capable. 
No  longer  is  the  motion  picture  industry  a  mushroom  growth.  It  is  now  firmly 
established  as  one  of  the  greatest  industries  of  the  nation,  and  in  all  its  branches 
there  will  be  a  higher  quality  and  a  more  serious  effort  than  ever  in  the  past. 

151 


5.  The  greatest  producing  organizations  have  endeavored  to  meet  the  need 
for  good  stories  by  adapting  the  writings  of  well-known  authors.  In  the  consideration 
of  the  examples  we  have  seen  that  the  great  majority  of  such  adaptations  are  failures 
on  the  screen.  The  tendency  is  again  turning  towards  original  screen  stories,  written 
directly  for  the  screen  by  authors  who  thoroughly  understand  its  technique.  In  the 
future  many  adaptations  will  be  made,  undoubtedly,  but  a  book  or  a  stage  play  will  be 
considered  not  because  of  its  author's  name  but  because  of  its  intrinsic  screen  merit. 
The  novels  and  plays  that  are  suitable  for  screen  production  will  be  used,  but  the  vast 
majority  of  photoplays  will  undoubtedly  be  original  stories.  The  far-sighted  leaders 
of  the  motion  picture  industry  are  now  looking  to  trained  photoplaywrights  for  their 
material,  and  during  the  next  two  years  we  shall  see  a  large  percentage  of  photoplays 
from  the  hands  of  masters  of  screencraft,  regardless  of  their  previous  fame  as  novelists 
or  playwrights.  The  future  of  the  trained  photoplaywright  is  assured,  and  may  be 
verified  by  a  careful  study  of  the  failures  of  the  various  adaptations  that  have  been 
made. 

6.  One  of  the  largest  producing  organizations  recently  announced  that  it 
intended  to  pay  the  author  on  a  percentage  basis,  as  the  novelists  and  playwrights  are 
paid,  in  order  to  assure  good  stories  and  popular  successes.  The  photoplaywright  who 
can  supply  a  strong  and  entertaining  drama  will  receive  from  five  to  ten  times  as 
much  for  it  in  the  future  as  in  the  past.  And  the  stories  will  be  judged  on  their 
merits,  and  not  in  accordance  with  the  accidents  of  reputation,  book  publication,  or 
stage  production. 

7.  A  thorough,  careful  study  of  the  photoplays  of  the  past  and  their  success 
with  the  public,  as  well  as  the  views  of  the  best-known  editors  and  directors  in  the 
industry,  lead  us  to  believe  that  during  the  next  year  or  two  the  trained  photoplay- 
wright will  have  a  better  market,  larger  returns  and  more  enduring  rewards  than 
ever  before.  To  the  thoughtful,  creative  writer  who  can  master  the  new  technique 
of  the  screen  the  photoplay  offers  better  opportunities  than  the  stage  or  the  magazines. 

8.  We  would  urge  the  student  to  keep  closely  in  touch  with  the  constant  changes 
of  the  industry,  and  to  become  familiar  with  the  needs  and  requirements  of  the  various 
stars  and  producers.  It  is  necessary  for  any  writer  to  study  his  market  very  carefully 
and  to  know  what  to  write  and  where  to  sell  it. 

9.  In  this  connection  the  Advisory  Bureau  and  the  Sales  Department  of  the 
Palmer  Photoplay  Corporation  provide  the  serious  student  with  a  service  that  can  not 
be  underestimated  in  value.  We  are  in  constant  touch  with  the  producers  and  editors 
and  are  thus  able  to  handle  the  work  of  Palmer  Plan  members  efficiently  and  quickly 
and  to  procure  the  highest  market  prices. 


152 


CHAPTER  XV. 
Conclusion. 

1.  After  a  careful  study  of  the  foregoing  pages  of  this  book  the  student  will  have 
a  clear  knowledge  of  the  thirty-six  dramatic  situations  and  the  combinations  which 
are  possible.  Enough  has  been  said  in  the  specific  treatment  of  each  situation  and 
example  to  clarify  many  of  the  problems  confronting  the  novice.  The  reader  should 
now  possess  a  critical  standard  with  which  he  may  analyze  and  judge  the  value  of  all 
photoplays  and  fiction  he  views  or  reads. 

2.  A  few  further  suggestions  in  regard  to  the  combination  of  situations  are 
perhaps  appropriate.  Very  often  the  photoplay^vright  will  make  an  excellent  begin- 
ning— in  theme,  characterization,  plot,  or  in  all  of  these  elements — and  then  his 
story  will  lose  strength  and  interest  and  fail  to  produce  a  satisfying  or  compelling 
effect.  Stories  that  begin  well  but  rapidly  lose  interest,  and  stories  that  end  well 
but  are  begun  with  illogical  or  implausible  situations,  compose  the  bulk  of  rejected 
photoplays.  Both  of  these  defects  can  be  avoided,  as  well  as  the  unfortunate  selec- 
tion of  plot  material,  by  a  thorough  knowledge  of  the  contents  of  this  work  and  an 
alert,  critical  faculty. 

3.  If,  for  example,  a  writer  has  selected  a  vital  and  distinctive  theme,  has 
created  an  interesting  group  of  characters  expressive  of  that  theme's  inherent  con- 
flict, and  has  placed  his  central  character  in  one  of  the  novel  phases  of  Situation 
VII,  "Falling  Prey  to  Cruelty  or  Misfortune,"  he  may  be  said  to  have  made  a  good 
beginning.  But  if,  in  working  out  a  plot,  he  makes  mechanical  and  artificial  use  of 
hackneyed  forms  of  Situations  X  or  III,  or  any  other  that  has  been  used  many 
times  before,  the  story  will  quickly  lapse  into  the  commonplace.  Let  us  suppose  that 
an  author  is  "stumped"  for  a  plot  after  having  made  the  good  beginning  we  have  out- 
lined. He  should  then  lay  the  rough  draft  aside,  and  bearing  the  theme  and  char- 
acters in  mind,  should  glance  through  the  thirty-six  situations,  seeking  the  one  that 
is  the  most  harmonious  development  of  the  preceding  action  and  the  most  expressive 
of  the  theme.  By  using  the  work  in  this  way,  purely  as  a  reference  guide,  the  cre- 
ative writer  of  alert  imagination  will  receive  many  helpful  suggestions.  Providing 
the  theme  is  well  chosen,  the  characters  well  drawn,  the  situations  logical  and  nat- 
ural, and  the  whole  story  constructed  in  a  dramatic,  cumulative,  life-like  sequence, 
it  will  be  a  good  photoplay. 

4.  Having  made  use  of  the  book  as  we  have  indicated,  the  writer  should  then 
take  up  his  script  and  work  out  the  complete  plot  outline.  When  it  is  finished — and 
here  we  would  again  remind  the  student  that  the  trained  photoplaywright  spends 
more  time  in  constructing  than  in  actual  writing — the  book  may  again  be  used  to 
check  up  details.  Compare  it  with  the  example  that  is  most  nearly  like  it,  and 
subject  it  to  the  most  careful  criticism  of  which  you  are  capable. 

5.  After  several  revisions  of  the  plot  outline,  each  better  than  the  preceding, 
the  best  plan  is  to  lay  it  aside  for  a  while.  Writers  often  allow  themselves  to  believe 
their  work  is  verj'  good  when  a  little  cool  analysis  after  the  first  fine  flush  of  crea- 
tion has  passed  would  illuminate  many  weaknesses.  Nothing  is  to  be  gained  from 
rushing  madly  to  the  post  office  until  the  finished  story  is  the  very  best  you  can  write. 
Only  after  you  have  clearly  visualized  and  analyzed  the  complete  plot  outline  should 

153 


you  commence  the  writing  of  the  synopsis.  The  detailed  synopsis,  of  course,  should 
be  the  clearest,  most  concise  and  comprehensive  you  can  possibly  write,  for  from  it 
the  editor  must  grasp  your  whole  story. 

6.  Then  it  is  time  enough  to  post  the  script,  and  if  the  right  kind  of  thought 
and  care  has  been  put  into  it,  it  will  win  an  editor's  interest  and  a  check. 

7.  This  book  is  a  supplement  of  the  Palmer  Plan  Handbook  and  shoulc  be 
studied  after  the  student  has  gained  a  thorough  knowledge  of  the  principles  of  con- 
struction from  the  Handbook.  A  thoughtful  study  of  the  two  books  will  prepare 
the  person  of  creative  ability  for  successful  photoplay  writing.  The  individual 
service  of  constructive  criticism  rendered  by  the  Advisory  Bureau  and  the  service  of 
the  Photoplay  Sales  Department  of  the  Palmer  Corporation  are  also  valuable  aids 
to  the  success  of  the  photoplaywright.  For  the  first  time  in  the  history  of  the  fourth 
largest  industry  the  very  basis  of  that  industry — the  creator  of  stories — is  being 
guided  and  trained  by  a  practical  plan  and  assisted  in  selling  his  work. 

8.  But  the  work  of  creation  is  up  to  you,  dear  reader.  We  shall  do  all  in  our 
power  to  help  you,  but  YOU  must  Study,  Think,  and  Create! 


1S4 


INDEX 

Page 
CHARACTERIZATION  18 

CONTINUITY,  writers  of 

Baldwin,  Ruth  Ann 82 

Beranger,    Clara 94 

Beresford,  Frank  S 74 

Bergere,  Ouida   67-75-118 

Bryant,    Charles 135 

Carr,  Catharine 89-140 

Clawson,   Elliot  J 81 

Clift,  Denison 72-79 

Cowan,  Sada   143 

Cunningham,   Jack 102-106 

Dix,  Beulah  Marie 133 

Eyton,  Alice 108 

Hall,  Geo.  Edvvardes 66 

Hall,   Walter   R 146 

Harris,  Elmer   132 

Hively,  Geo 92 

Hoadley,    Hal 71-88 

Holubar,  Allen 120-127 

Hubbard,  Lucien 80-109 

Hum,  Philip  J 91 

Ivers,  Julia  C 115-117 

Johnson,   Adrian 79 

Johnson,   Isabel 98-114-147 

Kavenaugh,   Katharine 82 

Kennedy,  Clara 84 

Kennedy,    Edith 65 

Maigne,  Charles 102 

Marion,    Frances 123 

Mathis,  June 82-126 

Ferret,  Leonce 138 

Printzlau,  Olga 143 

Proctor,   Geo.   D 77 

Reed,  Luther 68-84-112 

Roach,  J.  Anthon\- 78 

Schrock,    Raymond 108 

Smith,  R.  C 87 

Somerville,   Roy 136 

Steck,  H.  Tipton Ill 

Stuart,   Kathcrine 73 

155 


Page 

Sullivan,  C.  Gardner 95 

Unsell,  Eve 121-124-131 

Whipple,   Clara 69 

Wilson,  C.  J.,  Jr 136 

Yost,  Dorothy 86-132 

Young,  James 1 45 

DIRECTORS 

Apfel,  Oscar 77-94-109 

Badger,  Clarence 103 

Barker,  Reginald 97-129 

Beal,    Frank 79-82 

Beaumont,   Harry 89-139 

Blache,    Herbert 82-135 

Borzage,  Frank 140 

Brabin,  Charles 70 

Cabanne,  W.  Christy 71 

Chautard,    Emile 121 

Crisp,  Donald    132 

De  Mille,  Cecil  B 133-143 

Dillon,  Jack 126-129 

Dunlap,  Scott 98 

Edwards,   Walter 65-108 

Fawcett,  George 80 

Fitzmaurice,  Geo 67-75-118 

Ford,    Francis 76 

Ford,   Jack 76-81-1 10 

Franklin,  Sydney  A 142 

Gerrard,  Douglas   88 

Haskins,    Harry 143 

Heff ron,  Thomas  N 1 1 0 

Holubar,  Allen 120-127 

Humphrey,   William 66 

Hunter,  T.  Hayes 78 

Ince,  John 84 

Ingraham,  Lloyd  1 12-144 

Jaccard,  Jacques   92 

Keenan,    Frank 1 32 

Kirkland,  David 116 

Lawrence,  Edmund 108 

Le  Saint,  Edward  J 72-86 

Maigne,  Charles 102 

Maple,  J.  E 68 

Martin,  E.  A 107 

Mercanton,  Lou 101 

Mitchell,  Howard 1 1^' 

Moore,  Eugene 136 

156 


Page 

Neil,  R.  William 73 

Neilan,    Marshall 128 

Niblo,  Fred 95 

Noble,  John  W 87 

Otto,   Henry 93 

Parke,  William 147 

Perret,    Leonce 104-138 

Plimpton,  Horace  G 134 

Powell,  Paul 123 

Reicher,    Frank 124 

Ruggles,  Wesley 122 

Scardon,   Paul 85 

Schertzinger,  Victor 121 

Smith,  Cliff 78-130 

Storm,  Jerome 125 

Sturgeon,  Rollin 81 

Taylor,  Wm.  Desmond 117 

Terriss,  Tom 1 04 

Thornby,   Robert 74-99 

Tucker,  Geo.  Loane 113 

Van  Dyke,  W.  S 96 

Vekroff,  Perry 141 

Vidor,  King 119 

Vignola,    Robert 115 

Vincent,   James 1 46 

Warde,  Ernest 102-106 

Webb,  Kenneth 131 

Willat,    Irvin 68 

Wilson,  Elsie  Jane 89 

Withey,    Chet 136 

Wood,  Sam 84 

Worsley,   Wallace 105 

Worthington,  William 69-92 

DRAMATIC  AND  UNDRAMATIC 31 

DRAMATIC  TRIAD,  the 26 

EMOTIONAL  CURVE,  the 25 

EMOTIONS,  the  thirty-six 13 

"GOLDEN  CHANCE,"  plot  outline  of  the    21 

NOVELTY,  of  character 18 

NOVELTY,  of  plot 28 

NOVELTY,  of  situation    29 

NOVELTY,  of  theme    ^^ 

NOVELTY,  of  treatment    30 

NOVELTY,  the  test  of 28, 29,  30 

PHOTOPLAYS,  examples  of  representative  produced  65-148 

157 


Page 

"All  of  a  Sudden  Peggy" 65 

"Atonement"    66 

"The  Avalanche" 67 

"Before  the  White  Man  Came" 68 

"Behind   the  Door" 68 

"Bonds  of  Honor" 69 

"Buchanan's  Wife" 70 

"Burnt  Wings" 71 

"The  Call  of  the  Soul" 72 

"The  Career  of  Katherine  Bush" 73 

"Carolyn  of  the  Corners" 74 

"Common    Clay" 75 

"The  Craving" 76 

"The  Crook  of  Dreams" 77 

"Cup  of  Fury" 78 

"The  Cyclone" 78 

"The  Danger  Zone" 79 

"A  Day's  Pleasure" 80 

"Deadline  at  Eleven" 80 

"Destiny" 81 

"The  Devil's  Riddle" 82 

"The   Divorcee" 82 

"Double  Speed" 84 

"A  Favor  to  a  Friend" 84 

"Fighting  Destiny" 85 

"Flames  of  the  Flesh" 86 

"Footlights  and  Shadows" 87 

"The  Forged  Bride" 88 

"The  Game  Is  Up" 89 

"The  Gay  Lord  Quex" 89 

"The  Girl  Alaska" 90 

"The  Girl  in  No.  29" 91 

"The   Gray   Horizon" 92 

"The  Great  Air  Robbery" 92 

"The  Great  Romance" 93 

"The  Grouch" 94 

"Happy  Though  Married" 95 

"The  Hawk's  Trail" 96 

"The  Hell  Cat" 97 

"Her  Bridal  Nightmare" 97 

"Her  Elephant  Man" 98 

"Her  Greatest  Performance" 99 

"Her    Inspiration" 99 

"Hip— Hip— Hypnotism"    100 

"Infatuation" 101 

15S 


Page 
"The   Invisible  Bond" 102 

"The  Joyous  Liar" 102 

"Miio- ;^;^;^;;^;:"'!!:!;;';:;;;;  103 

"Lifting  Shadows" IO4 

"The  Lion  and  the  Mouse" 104 

"The  Little  Shepherd  of  Kingdom  Come" 105 

"Live  Sparks" 1 06 

"The  Lost  City" 107 

"The  Love  Auction" 108 

"Luck  in  Pawn" 1 08 

"Mandarin's  Gold" 109 

"A  Man's  Fight" HO 

"Marked  Men" !!..!.    Ill 

"Mary's  Ankle" '    112 

"Marry  Me" 112 

"The  Miracle  Man" 113 

"Molly  and  I" 114 

"More  Deadly  Than  the  Male" 115 

"No  Babies  Allowed" 116 

"Nothing  But  the  Truth" 116 

"Nurse   Marjorie"    117 

"On  With  the  Dance" 118 

"The  Other    Half" 119 

"Paid   In  Advance" 120 

"His  Parisian  Wife" 121 

"The  Peace  of  Roaring  River" 121 

"Piccadilly  Jim"   122 

"Pollyanna" 123 

"The  Prodigal  Wife" 124 

"Red   Hot  Dollars" 125 

"The  Right  of  Way" 126 

"The  Right  to  Happiness" 127 

"The  River's  End" 128 

"Shadows"   129 

"She  Hired  a  Husband" 129 

"The   Silent  Rider" 130 

"Sinners"    131 

"The  Six  Best  Cellars" 132 

"Smouldering   Embers"    132 

"The  Squaw  Man" 133 

"The  Stream  of  Life" 134 

"Stronger  Than   Death" 135 

"Sue  of  the  South" 136 

"The  Teeth  of  the  Tiger" 136 

"The  Terrible  Bandit" 137 

"The  Thirteenth  Chair" 138 

159 


"Toby's  Bow" 139 

"Toton"  140 

"Trailed  by  Three" 141 

"Two  Weeks" 142 

"The  Ventures  of  Ruth" 143 

"Why  Change  Your  Wife?" 143 

"Wives  and  Other  Wives" 144 

"The  Wolf" 145 

"The  Woman  in  Grey" 146 

"The  Woman  Who  Understood" 147 

PHOTOPLAYS  of  the  future 151 

PHOTOPLAYWRIGHTS  and  original  anth<  rs 

Adams,  Frank  R 114 

Ardel,  Henri   104 

Atherton,  Gertrude 67 

Baker,  Geo.  D 99 

Bell,  Pearl  Doles 98 

Bennington,  Marshall  Bruce 79 

Blair,    Nan 96 

Buck,  Charles  Neville 81 

Burnham,  Julia  72 

Byers,  Ruth   80 

Carew,  Ora  97 

Carr,  Catherine 140 

Chapin,  Frederic 107 

Clark,  C.  M 130 

Clift,  Denison   72-79 

Cohan,  Geo.  M 113 

Corbaley,  Kate    132 

Cunningham,  Jack 102 

Curwood,  James  Oliver 120-128 

Davis,  Owen  131 

Dazey,  C.  T 141 

Delano,  E.  B 124 

De  Mille,  Wm.  C 143 

Denny,  Ernest 65 

Edgington,  May   108 

Endicott,   Ruth    74 

Foote,  John  Taintcr 139 

Ford,  Francis 76 

Forman,  Justus  Miles 70 

Fox,  Finis 93 

Fox,  John,  Jr 105 

Fox,  Stephen   144 

Geraghty,  Tom  J 99-1 10 

KO 


Page 

Glyn,  Elinor   ji 

Gollomb,  Joseph   j  ]  5 

Hall,  Holworthy   132 

Halsey,  Forrest   77-86-94 

Hawks,  J.  G 88 

Hively,  Geo 92 

Holubar,  Allen   ]27 

Howard,  Clifford 92 

Howard,   Eric I37 

Hughes,  Rupert 78 

Isham,  Frederick ]  j  5 

Jaccard,  Jacques   92 

Johnson,  Gladys  E 89 

Johnson,   Isabel I47 

Josephson,  Julien 125 

Jordan,  Elizabeth 91 

Kahler,  Hugh 132 

King,  Bradley   87 

Kinkead,  Cleves 75 

Klein,  Charles   104 

Kyne,  Peter  13 1 1 1 

Le  Blanc,  Maurice   136 

Levin,  Edwina 82 

L'Herbier,  Marcel 101 

Lonergan,   Philip 109 

Mack,  Willard 97-129 

MacPherson,  Jeanie 21 

Marigold,  Col.  Tod  Huntc 78 

Maugiiam,  W.  Somerset 82 

Montgomery,  James 116 

Morris,  Gouverneur  68 

Morton,  Michael 118 

Packard,  Frank  L 113 

Parker,  Sir  Gilbert 126 

Pinero,  Sir  Arthur  Wing ^ 89 

Porter,  Eleanor  H 1 23 

Reed,  Luther 84 

Royle,  Edwin  Milton 133 

Sayre,   Caroline 1 06 

Shaw,  Stanley 85 

Shields,  James  K 134 

Taylor,  Marvin 108 

Taylor,  Rex 129 

Tully,  May  112 

Underwood,    Sophie   Kerr 102 

Unsell,  Eve   121 

Van  Schaik.  Geo.  E 121 

ISl 


Page 

Veiller,  Bayard    71-138 

Vidor,  King '. 119 

Walter,  Eugene 14-5 

Wharton,  Anthony 142 

Whipple,  Clara  69 

White,  M.  R 136 

WiUets,  Gilson   143 

Williams,   Ben  Ames 103 

Williamson,  C.  N.  and  A.  M 146 

Wing,  Wm.  E 68 

Wodehouse,  P.  G 122 

Woodhouse,  J.  Stewart °4 

Wylie,  I.  A.  R 135 

Zangwill,  Israel 117 

Zellner,  Arthur  and  Lois 95 

PLOT  OUTLINE,  the 20 

PLOTS,  the  building  of 27 

PLOTS,  the  test  of 23 

PRODUCERS 

American    144 

Artcraft  65-67-73-84-102-108-113-115-118-121-132-133-136 

Astra    75 

Beck   141 

Brentwood   H" 

Brunton    74-102-106 

Burston    96 

Chaplin    80 

Christie 97-112-116 

Eclipse    10^ 

Epic    134 

First  National  l'*^2 

Fox 70-72-7S-79-82-86-98-108-1 14 

Gayety    100 

Goldwyn    78-89-97-103-105-121-129-139 

Haworth    69 

Humphrey    66 

Ince  68-95-112-125 

Metro 82-84-99-126-135 

Neilan    128 

Northwestern     "° 

Pathe    132-138 

Realart 117-131 

Robertson-Cole    92-147 

Ruth  Roland  Serials,  Inc l'^3 

Screencraft 

162 


Page 

S"'™   146 

Selznick    87- P2 

'Triangle 99-130-140 

United j  jq 

United  Artists  123 

Universal 71-76-81-88-89-91-92-111-120-127-129-137 

Vitagraph 80-85-104-145 

Warner  Bros 1Q7 

World 77-90-94-109 

RULE  OF  THREE 25 

SITUATIONS 

Abduction. . . .   44-68-79-81-85-86-92-94-96-97-113-115-124-127-130-131-141-147 

Adultery  53-83-108-125 

All  Sacrificed  for  a  Passion 50-67-76-99-110-132 

Ambition 56-74-75-81-89-91-96-101-109-132 

An  Enemy  Loved 56-74-92-95-105-106-122-136 

Crimes  of  Love 54-128 

Crime  Pursued  by  Vengeance 

38-68-69-76-78-79-81-86-92-94-103-122-129-135-143-146 

Daring  Enterprise 

..43-68-70-75-86-91-93-94-95-98-107-113-115-117-122-123-128-131-138-139 
Deliverance  38-66- 

67-68-75-81-87-92-96-97-100-101-107-113-115-120-128-133-138-141-144-148 

Disaster  41-71-94-97-101-107-1 10-116-119-129-141 

Discovery  of  the  Dishonor  of  a  Loved  One. 54-68-70-73-74-79-83-86-123-129-133 

Enigma,  The  44-86-107-137438-143-147 

Enmity  of  Kinsmen 46-66-70-124-135-146 

Erroneous  Judgment 59-67-71-74-75-77-78-79-81-83-84- 

85-86-89-90-92-96-97-98-99- 1 00- 1 02- 1 03- 1 04- 1 07- 1 1 2- 1 1 3- 1 14- 1 1 6- 
117-118-119-120-122-125-127-128-129-130-131-132-137-138-140-142-145 

Falling  Prey  to  Cruelty  and  Misfortune 42-67-75-77-78- 

82-84-86-87-89-94-98-101-107-108-120-122-124-128-131-132-135-142-148 

Fatal  Imprudence   48-72-74-101-102-119-125 

Involuntary  Crimes  of  Love 48 

Loss  of  Loved  Ones 60-74-77-88-125-135-140 

Madness  47-77 

Mistaken  Jealousy 58-67-82-90-94-95-112-114-115-119-121-145 

Murderous  Adultery  47-72 

Necessity  of  Sacrificing  a  Loved  One 51-1 10-134 

Obstacles  to  Love 55-66-75-81-83- 

84-88-91-94-98-102-103-105-108-109-115-118-121-123-126-130-134-140 

Obtaining  45-76-81-86-107-129-132-141-147 

Pursuit    40-88-94-107-137 

Recovery  of  Lost  Ones 60-74-77-88-91-133 

Remorse    60-73-82-108-110-128-131-134-135-148 

Revolt   42-74-85-94-118-119-135-144 

163 


Page 

Rivalry  of  Kinsmen 46-70 

Rivalry  of  Superior  and  Inferior.  .  .51-68-86-89-98-105-111-119-121-133-135-144 

Self-Sacrifice  for  an  Ideal 49-106-112-127 

Self-Sacriflce  for  Kindred 50-66-68- 

71-72-75-79-82-83-86-92-99-104-1 1 1-112-1 19-125-127-134-135-143-148 

Slaying  of  a  Kinsman  Unrecognized 49-127 

Struggle  Against  a  God 58-127-135 

Supplication 37-66-96-97-113-120 

Vengeance  Taken  for  Kindred  Upon  Kindred 39-70-140 

Situations,  Characters  Suggested  by 26 

Situations,  The  Combination  of 15 

Situations,  The  Dramatic  Triad  in 26 

Situations,  the  law  of  the  thirty-six 7 

Situations,  plot  building  and 20 

Situations,  the  test  of 32 

Situations,  themes  suggested  by 26 

Situation,  what  is  a  dramatic 14 

Situation,  what  is  a  photoplay 14 

STARS 

Allison,  May 99 

Barriscale,  Bessie 147 

Barrymore,   Ethel    82 

Bennett,  Enid   95 

Boland,  Mary 124 

Bosworth,   Hobart 68 

Brady,  Alice 131 

Brockwell,  Gladys 72-82-86 

Calvert,  Catherine    73 

Carey,  Harry Ill 

Castle,  Irene   102 

Clarke,  Marguerite 65-108 

Clayton,  Ethel 115 

Clifford,  Ruth 89 

Compson,  Betty 113 

Deslys,  Gaby 101 

Dean,  Priscilla 129 

Delva,  Yvonne 138 

Farrar,  Geraldine   97-129 

Farnum,  Dustin 110 

Ferguson,  Elsie   67-121 

Ford,  Francis 76 

Frederick,  Pauline 121 

Gordon,  Kitty 109 

Griffith,  Corrine 80 

Hayakawa,  Sessue 92 

Holmes,  Taylor 116 

164 


Page 
Huff,    Louise nn 

.  Joyce,  Alice JO4 

Kruze,  Lottie    gg 

Keenan,  Frank 132 

Kerrigan,  J.  Warren 102-106 

Locklcar,  Lieut.  O.  M 92 

Lockwood,  Harold 93 

Love,  Bessie 74 

Love,  Montagu 94 

Lytell,  Bert   126 

McLaren,  Mary 88 

McLean,  Douglas  112 

May,  Doris   112 

Mayo,   Frank 91 

Mason,   Shirley   98-1 14 

Meighan,  Thomas 1 13-143 

Minter,  Mary  Miles 117-144 

Mix,  Tom  78 

Moore,  Owen    122 

Moore,  Tom  89-139 

Morey,  Harry   85 

Murray,   Mae 118 

Nazimova,  Alia 135 

Ovey,  George 1 00 

Pearson,    Virginia 70-108 

Phillips,    Dorothy 81-120-127 

Pickford,   Jack 105 

Pickford,  Mary 123 

Ray,  Charles   125 

Reid,  Wallace  84 

Roberts,  Edith 136 

Roland,  Ruth 143 

Rogers,  Will 103 

Stewart,  Roy 130 

Stone,  Lewis   128 

Swanson,  Gloria   143 

Talmadge,  Constance 142 

Terry,  Ellen 99 

Thomas,  Olive 87-140 

Traverse,   Madlaine    79 

Washburn,   Bryant    132 

Wehlen,   Emmy 84-104 

Ward,  Fanny '5 

Williams,  Earle 145 

THEME 17 

TREATMENT 15-19-20-23-27-32-153 

165 


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